
TO [)fl[SS. 



FOR LADIES AND GENTLEMEN. 



The art of selecting and arranging colors to 

suit any complexion and figure 

fully explained. 



ALSO, 



USEFUL INSTRUCTION 



IN SELECTING MATERIAL FOR DRESSES, HOW TO MAKE THEM. 
AND WHAT TO WEAR WHILE TRAVELING 

AND AT HOME. ,^^, .•. X 

.' ^ >- ... -yy^^ 

301832 ^ 



Nevt York: 
FRANK TOUSEY, Publisher, 

34 AND 3(i NoKTII M(»(»KE STREET. 






^^'^'■' 



Entered according to Act of Congress, in the year 1882, by 

FRANK TOUSEY, 

in the Oflace of the Librarian of Congress at Washington, D. C. 



n ,] 



[(.' 



^ TT 507 
~ Copy 1 



HOW TO DRESS. 



MATERIALS OF DRESS. 

It must not be supposed from the heading of this chapter 
that we are going to inflict upon the reader a long account 
of silks, satins, velvets, and the thousand and one materials 
which have been invented to furnish the infinite variety in 
ladies' dresses. "We refer to the subject chiefly to indicate the 
necessity that exists, in applying the laws of color, for con- 
sidering the substance, surface, and texture of which the 
dress is composed. 

Materials which are rough in surface, or absorbeat in tex- 
tui*e, are very differently affected by the rays of light from 
those which are smooth and lustrous, and the colors they ex- 
hibit are different in themselves, and produce a different effect 
upon the eye. A piece, of crimson satin, for example, would 
differ in color and in effect from a piece of crimson silk, al- 
though of like intensity, of tone, and, in fact, dyed with it 
in the same vat; each, again, would differ still more from a 
piece of velvet, merino, or tarletan, although all were as 
similar as the art of the dyer could make them. 

In some colors the difference of value according to the 
material would be very marked and decisive. A yellow satin 
might be superb, where the same yellow in cloth would be 
simply detestable. And not only does the character of the 
color depend on the absorbent or reflective condition of the 
surface, but also very much of the accidental effects produced 
by play of light and shade, contact with other colors, and the 
like. 

Thus, in a strong light, while the parts of a rich satin 
dress, which catch the brightest light, are glittering and al- 
most colorless, the folds exhibit almost every possible differ- 
ence of tone, from the shadows being' broken by the recipro- 
cal reflections of the opposite parts. The same thing will be 
noticed in a less degree with silks ; differently with velvets, 
yet producing the most beautiful effects, as any one may see 
who will condescend to study such details^ In merino or 
cashmere the effect is very different again, the broken, lights 
and reflections being almost lost in the absorbent character 
of the material. 

Further, texture may be considered with reference to con- 
trast as well as to color. Thus, almost intuitively, the milli- 



4 HOW TO DRESS. 

ner and dressmaker prefer to trim the glossy satins and silks 
with an absorbent velvet ; the dull merino or cashmere with 
the richer velvet, or glossy silk or satin. 

Again, the rough crapes and laces are placed in contact 
with the skin, and never with so much advantage as when the 
skin is smooth, polished, and pearly ; never with so little as 
when the pearliness is produced by powder. 

The effect of the material, in respect to color, is further 
modified by the circumstance of its having a plain or a figured 
surface. If the pattern be merely raised, it chiefly affects the 
quality of the texture, its smoothness, or otherwise. If it be 
a colored design, it necessarily influences the general har- 
mony, and must be taken into account in considering the 
trimmings, and other details of the dress. Patterns, if well 
designed, may add greatly to the richness and elegance of the 
dress, but, unfortunately, they are not often well designed, 
and much as the superiority of the French designer is 
vaunted, and in some matters very justly, it is undeniable 
that many of the most outrageous patterns are of French de- 
signing. "^ The reader may remember the rapture with which 
Ruskin, in his "Stones of Venice," speaks of the patterns on 
the dresses introduced in Venetian pictures, and particular- 
ly in those by Tintoretto. There can be little doubt that 
they were copies from actual silks worn by Venetian ladies, 
but they must have been designed by true artists, with a gen- 
uine feeling for what is required in drapery, and the material 
was probably richer and more substantial than that of the 
present day. Our designers, like the French, seem to imagine 
that the whole pattern is to be exhibited distended, like a 
piece of tambour-work upon a frame, instead of being broken 
up and half-concealed in the natural folds of the drapery. To 
a certain extent .they were justified during the supremacy of 
crinoline, but we are happily escaping from that thralldom, 
and now, perhaps, our textile artists will come to understand 
that patterns in a dress are not pictures, and design them 
with regard chiefly to their effect in producing a pleasing 
play of line in the drapery, and a harmonious arrangement of 
color. 

Materials and patterns require to be selected with reference 
to the figure of the wearer. What would assume an air of 
distinction upon a tall and stately person, would not be be- 
'coming to a bri^, mercurial little maiden, the living embodi- 
ment of perpetual motion, nor to the figure of a short, stout 
matron. 

So again, the dress that would be beautiful and graceful 
when falling in long, free folds, accommodating themselves 
to the natural motions of the form, would be utterly ruined 



HOW TO DRESS. 5 

hy straining over crinoline, or being cut into flounces, puffs, 
or ruffing. 

It should also be remembered, in adapting colors and ma- 
terials to the figure, that they have as much eflect there as 
upon the complexion or hair. The heavy, rich materials 
which suit a tall figure, look awkward upon a small person, 
and while all dark colors impart an appearance of slender 
proportions, light ones will certainly render conspicuous any 
tendency to corpulence. Full, light drapery should be worn 
only by those of slender figure, while those who are too short 
must be content with dark colors, and tightly-fitting gar- 
ments. 



HOW TO MAKE A DRESS. 

To make a dress handsomely, well-fitting, and perfect in 
every respect, is so important an addition to the art of dress- 
ing well, that this. chapter needs no apology for its insertion. 
It is one of the advantages that women possess over the 
stronger sex, that they can, in an emergency, dispense with 
the assistance of the milliner, dressmaker, and seamstress. 
In such emergencies it is no small advantage to a lady to be 
able to cut and make a dress, although some experience and 
skill are necessary for a perfect success. 

The first rule for dressmaking is to have all the materials 
required ready before the sewiiig is commenced ; the sewing- 
silk should be neatly wound, the body-lining ready, hooks and 
eyes, stifi" facing-muslin, sleeve-linings, skirt-lining, cord, 
trimming, buttons, whalebones, skirt-braid, cotton, wadding, 
and all requisite sewing implements at hand. • 

Measure ofl" first the breadths of the skirt, being careful to 
allow a strong turning top and bottom. Then pin or tack 
the breadths together, and, if gored, be careful that the gores 
are even, and the sweep of the skirt falls exactly in the center 
of the back breadth. Be careful that no breadth is turned 
wrong side out, or with the pattern upside down. You must 
allow in the gored skirt for the stretching of the cut edge ^' 
more than the selvage, or the work will pucker. 

In a plain skirt, begin your run at the bottom, that any un- 
evenness may come at the top, but in a gored skirt you must 
begin at the top, and let the difference, if there is any, come 
at the bottom. In case of a cut edge and a selvage coming 
together, however, the selvage must be held uppermost, and 
notched here and there to prevent puckers. 

As a gored skirt hangs lower in the center of the breadths 
than on the edges, the first turning of the hem must allow for 
that difference, and be laid deeper where it would otherwise 



6 HOW TO DRESS. 

droop. It is also necessary to baste tlie turning of a gored 
skirt carefully, and also to baste down the facing, as it will be 
likely to stretch at the top of the hem or facing. The fullness 
at the top must be held in evenly, or it will make an awkward 
fold at the seams. 

It is important to make all the fastenings of a dress very 
secure, as there is generally a severe strain upon all of them. 
The pocket-hole, placket, arm-holes, waist-binding, every part, 
indeed, must be firmly and neatly secured against danger of 
ripping. It is a sure sign of slovenly dressmaking when the 
sleeves rip from the arm-holes, or a pocket falls out after any 
unusual weight being placed in it. 

After the skirt is cut and basted, the sleeves are the next 
part to cut. It is necessary to have a paper pattern exactly 
as you wish to cut the sleeve; double the lining, and cut it 
accurately by this pattern, leaving a half inch all round for 
seams. It is better always to cut the lining double, as you 
thus cut both sleeves at once, and avoid all danger of getting 
one larger than the other. Next double the material of the 
dress, and cut it by the lining, laying the selvage to the 
straight length of the pattern. 

When skirt and sleeves are cut, the most difficult part of 
the dressmaking must be undertaken, namely, to get an 
accurately fitted waist. Take a piece of thin but strong 
paper, and fold one corner the length of the front, pinning it 
to the corset. Spread the paper very smoothly across the 
bust to the shoulder, and fold it to fit the figure exactly; cut 
away round the arm, and draw it smoothly under it, then cut 
again to the waist, allowing fullness enough for darts and the 
width of the seams. Another piece of paper must now be 
pinned to the back, and fitted to meet the front. This being 
half the body, you have only to fold the lining so as to cut 
each back double, to get the back and each front for the 
front. In cutting the material, however, it is best to baste 
the lining down, and be careful to allow for the hems on each 
side of the front. It is generally preferable to cut away the 
darts, but if very narrow they may be left. 

The back will generally fit better if side-bodies are put in, 
instead of cutting it all in one piece. As soon as the whole is 
cut, baste it together and try it on, wrong side outward, 
pinning the seams, the darts, and the side-bodies to fit the 
figure, and altering the bastings to suit the measurement. 

Having cut ana basted your dress, the next step is to put in 
neatly together. First run the breadths of the skirt, making 
it full or narrow, short or long, according to the fashion. Rut 
the seams very evenly, pinning the end to a stationary pin- 
cushion to prevent puckering. If the sMrt is lined, it will 



HOW TO DRESS. 7 

hang better if the lining is the same width as the material, 
and run in with it at each breadth. Cut even at the top and 
bottom, and whip thickly. Next put on the facing, if the skirt 
is not lined, or, if lined, put on the stiff facing at the bottom, 
and hem to the lining, being careful that no stitches show 
through on the right side; if not lined, the facing had better 
be notched at the top, and run down. Be careful in running 
your seams to leave the space for the pocket and the placket 
slit. Hem the latter, and lay the upper hem over the lower, 
stitching it firmly at the bottom. Next put on the skirt braid 
and put in the pocket. If you trim with flounces, cut them 
always crosswise of the material, or they will not hang grace- 
fully. Each breadth must be halved and quartered. Run in 
a strong cord at the top, and divide the fullness evenly be- 
fore drawing the cord, and stitching the flounce down. It 
you wish a ruflie above the cord, run it into a tape casing, as 
much below the top as you wish the width of the ruffle. Box- 
plaits, ruifles, indeed all kinds of trimming made of the 
material, must be carefully measured and cut out before the 
skirt is put together. If trimming of different material is used, 
the prevailing fashion must govern the choice and manner of 
putting it on. 

The sleeves must be made next. If there are two seams, 
run a cord along the upper one, covered with the material, 
and sew down on the outside. Cord at the wrist, and turn 
the lining inside to conceal the seam. Stitch the long seams 
together, lining and material at the same time, if it is prac- 
ticable. Always trim the sleeves before putting them into 
the arm-hole, and, where it can be done, before stitching up 
the inside seam. 

Next, stitch together the waist as it is basted, putting a 
covered cord round the arm-holes, and on the neck and waist. 
Even if a band is put at the throat, and a belt at the waist, 
they will appear neater and stronger if they are properly 
corded. 

The skirt is next to be put on the waist, being first gath- 
ered, plaited, or sloped, according to its fashion. If there 
are two skirts, put the lower one on the waist-band, and the 
other on a belt of the material, strongly lined. 

If a sacque or cape is made, it should be cut out with the 
dress, basted and fitted. A cape should be cut from a paper 
pattern, and lined with some light muslin, a little stiff. A 
cord should be stitched round the edge, with the lining, and 
the latter then turned and pressed to conceal the seam. This 
is not necessary if the cape is to be trimmed at the edge, 
when the material must be cut large enough to hem down on 
the lining. A sacque may be corded, hemmed, or bound, ac- 



8 HOW TO DRESS. 

cording to the trimming. Sleeveless sacques must be neatly 
corded round the arm-holes. 

These directions are given principally for woolen or silk 
dresses, and for a plain waist and separate skirt. The dress 
made all in one must be cut from a paper pattern, and will 
be so difficult an undertaking that the inexperienced dress- 
maker could scarcely succeed from any written directions. 

Thin materials for evening dresses should be lined with silk, 
and the waist made with some fullness, corded in round 
the shoulders and at the waist; the sleeves will be prettier 
pufled. 

Cotton prints for summer wear are not always lined; but 
should be protected under the arms and round the arm-holes 
by a narrow lining of cotton. Lawns, bareges, organdies, 
indeed all summer fabrics will wear better, be more easily 
washed and ironed, and look better, if the lining is made en- 
tirely separate from the dress. A handsomely trimmed cor- 
set cover, sewed to a tucked cambric skirt, makes a pretty 
lining for a thin dress. Thin fabrics are prettier faced with 
book-muslin than they are hemmed, excepting plain materials 
which can be hemmed. Figured goods show the irregularity 
of the pattern very badly in a hem. 



ARRANGEMENT OF COLORS. 

It has been said that it is essential to harmony of effect 
that the colors in combination should bear not only a due re- 
lation, but also a proper proportion to one another. But it is 
impossible to assign the relative quantities that will produce 
the most perfect harmony. If such directions could be given 
they would be as numerous as the combinations. But har- 
mony of color will not admit of a quantative analysis. What 
are the proper proportions is very much a matter of per- 
ception and feeling. We might say with tolerable cer- 
tainty that colors or tones of equal intensity should never 
be brought together in equal quantities, and other general 
rules might also be proposed, but they would be found to re- 
solve themselves into deductions from the principles with 
which we have been dealing, and will, in substance, if not in 
words, occur to all who give to the subject a moderate amount 
of attention. 

Happily in dress equal quantities are hardly practicable. 
The nearest approach to danger is from the contiguity of 
cloak, shawl, sacque or other upper garment. 

The most convenient way of illustrating the relations of 
colors, and indicating the bearings of the principles of har- 



HOW TO DRESS. 9 

mony and contrast in the combination and arrangement of 
colors in dress, will be t(^take some of the leading colors 
and their modifications, ana point out what otner colors agree 
or disagree with them. As the easiest mode of classifying the 
colors for our purpose, we will take the primaries first, put- 
ting under each its leading modification ; then the secondaries, 
the neutrals, and so on. 

Uncertainty and misapprehension frequently occur in 
speaking of colors from the indefinite and often difTerent ideas 
people attach to the words red, blue, green, and the like. In 
large and expensive works precision can, to a certain extent, 
be secured by giving colored scales and diagrams. But even 
these are imperfect and often unsatisfactory. Another 
method, first proposed by Moses Harris, in the last century, 
is that of referring the color to some common flower, mineral, 
or other natural object. This plan, which has also been 
adopted by Sir Gardner Wilkinson in his work "On Color," 
a work to which we are indebted for some of the suggestions 
in the annexed summary, we shall follow wherever it seems 
necessary to distinguish a distinct color from one of its 
varieties. 

In this sunmiary it will be understood that the color which 
stands at the head of the paragraph is the principal color of a 
dress, those named afterwards being the subsidiary colors, 
either employed in smaller quantities, or as trimmings, to 
relieve, brighten, heighten, or in any way modify it. Discre- 
tion and judgment in the wearer must decide much of the 
quantity desirable to be used. 

Red {Field Poppy, Verbena M€Undris\ 

Red is a color seldom used for dress, but it is the parent of 
numerous varieties, and may serve as a subsidiary color, 
though seldom as efi"ective as 'scarlet in ribbons or trimmings. 
The complementary of red, a pale green, looks well with it, 
in small quantities, but a pale sea-green celadon, a pearl 
or silver-gray, looks better. 

Scarlet, in an opera-cloak or fancy dress, has a brilliant 
efiect trimmed with gold, and harmonizes well with white. 
In ribbons or velvet trimmings it is a valuable addition to 
gray or drab, or to any of the light neutral tints. Will bear 
black lace or swan's down. 

Crimson {Cactus S2^eciocissimus') is often seen with blue in 
paintings, but it requires white to harmonize. Crimson will 
also bear blue and gold, or orange, but they must be com- 
bined with discrimination ; it will bear orange alone, but is 
improved by the softening of black or white lace. Crimson 
and purple are discordant alone, but crimson will bear purple 



10 HOW TO DRESS. 

and pale green in very small quantities. Crimson is danger- 
ous to the complexion, unless fpery clear, or glowing and 
slightly olive, when white should be placed between the com- 
plexion and the color. 

Claret has a little purple in its composition. Harmonizes 
with orange and gold, but not with yellow. Very rich in ef- 
fect trimmed with black lace, of which it will bear a large 
quantity. 

Magenta may be regarded as a variety of claret. It is im- 
proved by contact with black, injured by green, destroj's scar- 
let placed upon it in small quantities. 

Maroon has a tendency to brown. Harmonizes with gold 
or orange. Will bear a very little green. Heightened m 
eflect by white or black. Loses brilliancy in gas-light. Is 
apt to bring out the green in the complexion, unless reUeved 
b'y a decided green in the hair-ribbon or neck-tie. A color 
that suits but few, and requires skillful handling, 

Pink is suitable only for very young ladies. Looks best 
alone, or with pure white. Is effective with narrow hnes of 
black, or black lace. A good color for evening wear, as it 
lights up well m artificial light ; bears silver trimming well. 

Cerise harmonizes well with silver-gray, lilac, or a pale 
lavender; will bear, in addition, a few sprigs of gold, and 
then may allow a point of scarlet or crimson. Blue with 
cerise is ve;j harsh ; but blue and gold, deftly arranged in 
small quantities, will haamonize with it. 

Blue {Lapis-lazuli or Corn-flowei'). 
Harmonizes with its complementary, orange. Discordant 
with yellow. Intolerable with green — although in nature 
blue flowers look beautiful nestled in green leaves. Blue and 
a warm, rich brown, not too dark (the color of the horse- 
chestnut), harmonize well, or a little white may be added. 
Blue requires white next the complexion. Other harmonious 
combinations are: blue, crimson, and gold, or orange. The 
same with purple, very effective in patterns, if lines of black 
are used to prevent the too sharp contact of the contrasting 
colors, and in occasional spots. In the same way a rich 
brown, scarlet, or crimson and gold may be made to' harmo- 
nize, witli blue as the principal color. 

Light-blue is only suitable for daylight. As an evening dress 
it is ineffective, the artificial light"^ changing it to an unpleas- 
ant light-green. Looks well alone, or with velvet trimmings 
of the same color. White agrees with it, even in large quan- 
tity ; black can be used only very sparingly, and only in lace. 
Drab, or a diffused gray, with a point of red, admissible upon 
fight-blue, but very trying to most complexions. 



HOW TO DRESS. 11 

Yellow {Furze-hlossom, Buttercups)^ 

Pure yellow is not much used for dress, orange on the one 
side, straw or amber on the other, being much richer, and 
more agreeable to the eye. It harmonizes best with its com- 
plementary, purple. Black is also of great value as a trim- 
ming, and may be used freely. 

Amber, Straw, Primrose and Canary, are feebler in effect 
than orange. These shades are rendered still weaker by con- 
tact with any strong color or tone. Of these, however, purple 
is the best. Black looks well in lace only. Trimmings of a 
faint crimson or cerise have a pretty and cheerful effect, but 
require a little dash in the wearer. White may be used as 
lace, but with care, and will call for the addition of small 
points of stronger color. 

Orange {Common Garden Marigold, or the Orange Fruif). 

Is very effective in the evening, when Fashion permits its 
adoption. Orange satin with purple has a splendid appear- 
ance, but suits only a tall, commanding figure. Black, es- 
pecially in lace, is an efficient contrast. White is less effect- 
ive, but looks well by gas or candle-light. Orange is the 
complementary of, and harmonizes well with blue, but they 
would form a doubtful combination in dress ; minute points of 
scarlet, black, or white, might be added, but for dress orange 
is best alone or with purple, black, or white. Suits brunette 
complexions, and will bear a rich crimson in the hair, espe- 
cially if the' dress is subdued in tone by a profusion of black 
lace. 

Green {Grass — inclining neither to blue nor yellow — 
Emerald'). 

Is very grateful to the eye, but a difficult color to manage 
in a dress. All the varieties of green are affected, and a few 
improved by artificial light. Harmonizes, but not agreeably, 
with its complementary, a pale red; better with pale scarlet; 
but for an evening dress is most effective with gold, either 
bright or dull. In the open air agrees well with white, and 
may be relieved with scarlet or crimson, used very sparingly 
and judiciously. Is dulled in effect by black. 

Light green looks well with white. May be used with 
small points of a rich brown, or trimmed with a darker shade 
of the same color, but is an unmanageable color, and very 
trying to the complexion. 

Dark green. Titian has clothed the figures in some of his 
most famous pictures in a very deep green, but he has taken 
care to bring large quantities of wtute against the complex- 



12 HOW TO DRESS. 

ion, and generally has a bright crhnson near, to balance the 
composition. It looks well with the glowing Venetian com- 
plexion, but should be used with care, as but few complex- 
ions will bear the contact well. 

Purple {Nightshade-blossom, Amethyst, Flum'). 

The regal color has a magnificent eflect with gold. Purple 
silk may be trimmed with orange. A clear crimson, or, bet- 
ter, scarlet brightens it, but requires management as to 
quantity; this combination is improved by gold, or a little 
orange, or amber. A very minute quantity of green, as a 
tiny sprig, suits some shades. White and black may be 
used freely. Purple is most efiective in rich material, as 
velvet, heavy silks, poplins, or raerinoes, and loses eflect in 
thin goods. " 

Fuce requires gold or orange. Is brightened by scarlet. 
Not a good color, and very trying to most complexions. 

Lilac, Lavender, Mauve, harmonize with cerise, used spar- 
ingly, and with gold, but are better trimmed with the same 
color of a shade slightly darker or lighter. White may be 
used freely, black rather sparingly. Lavender takes black 
for half-mourning; mauve takes white or black for slight 
mourning. 

Gray. 

The grays, like all the neutral colors, are very valuable for 
quiet dresses, and adapt themselves well to diflerent forms. 
They make a dress of simple elegance with trimmings of the 
same color, black or white, yet serve admirably as a ground 
for any of the bright colors. Crimson or scarlet is most 
efl"ective upon a gray ground. The grays require white next 
the complexion when trimmed with their own color. They 
are very effective with a very small point of intense color. 
Drab. 

The drabs, fawn, mode, and mouse colors have much the 
tame general character as the grays, but are not so cold and 
eevere m tone. Crimson, blue, and green in the neck-ribbon 
»r head-dress relieve any of these colors, and they will all 
bear bright-colored trim mings. Walking-dresses are effective 
M any of these, but they are equally suitable for indoor 
dresses, and, like grays, adapt themselves readily to a quiet, 
elegant, or rich style. 

Black, 

When not worn for mourning, will bear the bright colors for 

trimming or ornament, and sets off gold ornaments effectively 

White relieves it very happily, and it is the best background 

in velyet for diamonds. To some complexions it is always 



HOW TO DRESS. 13 

becoming, but becomes gloomy by constant wear. Is very 

effective in lace worn over bright-colored silks or white satin. 

White. 

White musUn is especially appropriate for the young and 
for festive occasions. Is suggestive of pleasant memories 
and associations; admits of the gayest and brightest trim- 
mings, though scarlet and blue are most effective. With 
white silks for evening wear and occasions of ceremony, a 
heavier style of trimming is necessary. Dull gold is very 
effective with rich white silk or satin. Lace of either white or 
black looks well, and colored tulle is effective over a white 
silk or satin uuderdress, as is also colored silk under white 
tulle, lace, or tarlatan, for young people. Faintly tinted 
whites are effective with the color of the tint as trimming, 
but look badly in contact with pure white.' 

We have thus run over the leading colors, and indicated 
the manner in which they may be treated in accordance with 
the laws cf color. Our cursory remarks make no pretense to 
be in any way exhaustive. They are offered only as sugges- 
tions. Some of them, we are fully aware, will be found out 
of the usual course. Try these cautiously— most of them 
will be found safe, as they are directed by sound principle. 
All of them will be found useful as hints for the foundation of 
a dress where skill and judgment will dictate the details. 



COLOR IN RELATION TO COM- 
PLEXION, HAIR, &c. 

In the last chapter we noticed the leading colors and their 
treatment in dress, but only incidentally alluded to their ap- 
propriateness, or otherwise to personal peculiarities. Yet it 
needs but little observation to be satisfied that a color or ar- 
rangement of colors, graceful and becoming upon one lady, 
would be quite unsuited to another, although each may be 
beautiful and attractive. A lady's skill and taste in dress are, 
perhaps, shown in nothing so clearly as in selecting and ar- 
ranging colors to suit her individuality of character and ap- 
pearance. Little guidance is possible in the former respect. A 
lady of grave habits will instinctively avoid a glaring, or even 
a light, fanciful style of dress. A gay girl will allow her fancy 
more play, and shrink from the somber hues and grave 
fashions, while the retiring, quiet lady will adopt a still differ- 
ent style. The young bride will appear to charming advan- 
tage in what would be simply absurd upon the matron ad- 
vanced in years; while, on the other hand, we do not wish to 
see the young maiden arrayed in the colors and fabrics becom- 
ing to her grandmother, 



14 HOW TO DRESS. 

With reference to appearance, "however, something more 
may be said. All who have touched upon the subject have 
given some directions for the selection or arrangement of 
colors according to the complexion, color of the hair and 
eyes, and general character of the wearer's beauty. Many of 
the directions are of comparatively little value, deductions 
from a theory of colors requiring, however correct in them- 
selves, to be modified in individual cases to an extent which 
the student of color in the abstract can scarcely be expected 
to appreciate. 

There is one source of error incident to all the results de- 
rived from theoretical considerations when applied to dress, 
which it may be useful to point out. 

The rules for producing harmony and contrast are based 
upon results observed in looking at selected colors placed 
side by side, or allowing the eye to rest upon a particular 
color, till, on removing it, the complementary is seen. But 
in dress, and especially in considering its color in connection 
with the hair and complexion, it must be borne in mind that 
the influence of the one on the other is not simultaneous. It is 
something very different from that produced by two strips of 
color side by side, or by colors seen at the same moment— as 
in a flower or the wing of a butterfly. The action, whatever 
it is, is successive. The eye, resting on the dress, is tilled by 
its color, and then rests upon the face of the wearer, or the 
contrary. It is an alternate, and not a simultaneous effect that 
is produced. Thus, the eye after resting for a time upon a 
blue dress, will be susceptible of the complementary, orange, 
and insensible for the moment to blue. No lady, then, should 
wonder if her blue eyes were less eflective when she wore a 
bright blue dress, and a yellow dress would utterly destroy the 
eflect of bright blonde hair, or hair of the reddish-gold would 
ill bear knots of orange ribbons. 

These are trite illustrations, but will better serve the pur- 
pose of enforcing the fact so important in connection with this 
section of the subject, that the influence of the color of the 
dress upon the complexion is due, not to the simultaneous, 
but to the successive action upon the retina. 

The eye, filled with the color of the dress, is rendered thus 
particularly susceptible to rays of an opposite color, and being 
moved, whilst in that condition, to the face, colors or hues of 
the color last looked upon are lost or depreciated, whilst those 
of the opposite kind have an increased value. This is the 
secret of the heightening or lowering of all weak colors by the 
proximity of larger masses and stronger colors. 

But rem-ember it is not best to trust entirely to any stated 



HOW TO DRESS. 16 

rules, however sound and plausible they may be in theory. 
Ovid's advice in this matter will always be the safest: 

"No complexion can bear every hue; try them all; wear 
that which best becomes you.'* 

Complexions require the colors that enforce their peculiar 
excellence, and render their defects less conspicuous. 

Blue suits the blonde complexion, but is trying to blue or 
bluish-gray eyes, and while it enriches golden hair, is liable 
to exaggerate any tinge of yellow in the complexion. How 
then is a lady to reconcile these conditions ? "White should 
separate the blue from direct contact with the complexion, 
and then a bright golden brooch or chain will keep down 
any slightly yellow hue in the throat as the hair will subdue 
that in the face. The eyes, if they have any life, flash, or 
sparkle, will take care of themselves. 

In the same way intensely pallid complexions, especially if 
shaded still further by black hair, will not bear a dead white 
against the face, and only the softest and finest lace in collar 
or ruffle is becoming. 

The way to lower any tint that is excessive in the face is to 
bring a strong color of the same class in close proximity to 
it ; but it is not always a desirable remedy, and it is only 
necessary to resort to it when the dress is not quite suited to 
the complexion. 

Fink, as was said before, is only fitted for the young. It 
is a charming color, and those to whom it is suited look very 
graceful in it. The pale, sickly, and those of an oUve hue, 
had better avoid it. 

White is similar in its conditions. It beautifies and sets 
ofl" to perfection a healthy young face, but deepens the gloom 
of a sad or sickly one. 

A florid complexion is rendered more florid by green. To 
take an extreme illustration, if a lady were so unfortunate as 
to be the possessor of a red nose, her keenest rival could not 
desire for her any worse fate than that on some momentous 
occasion she should wear a green dress. On the other hand, 
an excess of red may be counteracted by a judicious arrange- 
ment of crimson in the dress, or near the face. But this 
must be used cautiously, or the efiect may be ludicrously op- 
posite to that intended. Red will not always cure, but some- 
times seems to deepen the same hue in the face, a result, 
however, it will be found, if the case be analyzed, of the 
presence of other elements beside the red in the complexion. 

Black selaom agrees with a very florid complexion, and 
requires white with a very pallid one. It will, however, suit 
a fair and ruddy face better than a dark, ruddy one. 

Brimettes look most brilliant in an orange dress, or in 



16 HOW TO DRESS. 

orange and purple, or orange and black. Red, a deep pink, 
or crimson, in the form of flowers, ribbons, or trimmings, 
may be valuable to clear up other colors, or to act as a point 
or focus. Scarlet is more dangerous, and should be well 
tested before it is used. Blue is always inimical to the 
brunette ; if used at all, it should be of a deep, rich, shade, 
well toned with black lace, and relieved by deep crimson in 
the hair. Light blue is almost invariably unbecoming. When 
the face is decidedly dark strong dark colors will have the 
efiect of rendering it lighter by contrast. A deep purple is 
sometimes of value — dependent, of course, on the special half- 
tones of the face — but it will require light and bright sub- 
sidiary colors as trimmings or ornaments. If the face be 
dark and pallid, dark and strong colors should be used 
cautiously and sparingly. 

Titian constantly brings white into contact with the deep, 
glowing, healthy complexions he delighted to paint, and then 
has, either as the principal drapery, or close at hand, the 
richest crimson in considerable quantity. But this would be 
too decided for the delicacy of most American complexions, 
which would hardly sustain such splendor. Our brunettes, 
and even those whose complexions approach an olive, must 
be content with more sober harmonies. But the principle is 
there. There are complexions which require deep, rich tones 
and colors, with points of decided contrast. Maroon is apt to 
bring out any latent green in the complexion, and therefore 
should be used but seldom in direct contact with it. The in- 
terposition of white is sometimes sufficient to counteract this 
tendency. If insufficient, emeralds or other green stones may 
be used. 

A light, rosy complexion harmonizes admirably with a 
silver-gray or pearl. The gray tints, however, will be found 
to suit most complexions, partly because they form so good a 
ground for any strong color that may be required by the 
character of the complexion or the color of the hair, but also 
because from their variety it is comparatively easy to find a 
suitable tone for almost every style of personal appearance. 
But the suitable tone is important. We have just said, for 
instance, that a silver or pearl gray harmonizes with a clear, 
light, rosy complexion, but such a gray would inevitably re- 
veal any lurking sallowness in the skin, and be found to deepen 
any dusky hue, or increase any dullness in the face. 

A pale complexion, if healthy and natural, is improved by 
black, but, as remarked before, black does not suit the ex- 
tremely pallid, the sickly complexion, or the pallid and dark. 
If employed by them, the accessories must be skillfully ad- 
justed. 



HOW TO DRESS. lY 

Ristori is a finished artiSt in dress as well as in acting, and 
those who have seen her may object here that she never loolvs 
more magnificent than when robed in black, although usually 
pallid and dark. But it is to be remembered that she is seen 
upon the stage at such a distance that the eye takes in her 
whole figure and face at a glance. Dress and face are stamped 
on the retina simultaneously ; and further, from the distance, 
and the strong and peculiar light under which she is seen, 
however pale she may appear, darkness and sallowness of hue 
are lost sight of entirely in the general eflect. It is the tender 
gradations and delicate half-tints seen close at hand which 
are most aflfected for beauty or the reverse by neighboring 
colors. 

Enough has probably been said by way of hi7its on the man- 
agement of colors in connection with the complexion. The 
reader will have no difficulty in pursuing the subject to any 
desirable extent. One or two general remarks may, however, 
be added. In considering the efiect of contiguous colors on 
the complexion, it will be necessary to observe whether it is 
produced by contrast, or whether any part of the effect results 
from reflection. With the bonnets formerly worn this was an 
essential consideration. Now so little of the bonnet is seen 
from the front view, that their influence upon the hair is more 
important than the eSect upon the complexion. Flowers and 
other ornaments play a much more important part, but their 
influence is due to contiguity, to their contrast with, or action 
upon, the prevailing hue, the half-tints and latent shades of 
the complexion, and to reflection, in but few instances. 

Colors favorable to the complexion are not always at the 
same time favorable to the hair, but here flowers or other orna- 
ments will usually supply the remedy. 

Black hair has its depth and brilliancy emphasized by a 
scarlet, white, or orange flower ; but a dull red near it tends 
to render it dull and brownish by imparting a portion of its 
own hue ; this is a well-known efl'ect of some colors, in certain 
connections, on others in immediate contact with them. 
Glossy black hair has a superb eflect when decorated with 
diamond sprays, and bears well ornaments of lusterless gold, 
and pearls. 

Light brown hair bears well the contact of blue, which 
brings out efiectively the golden tint. 

Bark Jyrown hair will also bear light blue in quantity, or a 
deeper blue in smaller proportion. If it is a little dull, lack- 
ing gloss and liveliness, a pale yellowish-green will be found 
becoming. 

Pure golden hair is a rare tint. It will bear blue best, 
but is also eflTective with pearls and delicate white flowers. 



18 HOW TO DRESS. 

Auburn hair, if too much inclined to red, will be improved 
by close contact with scarlet. The golden-red will be en- 
hanced by a blue flower, pale green leaves, or a band of 
black. Purple will also serve to bring out the reddish-golden 
tints. 

Flaxen hair is difficult to manage. Purple is becoming to 
some tints; blue will bring out the golden tints, but is dan- 
gerous if there is a tendency to the tallow hue. 

Before quitting this section, it should be observed that even 
in the choice of color for ornaments very much depends upon 
tlie manner of arranging the hair. When the hair is flowing 
in loose curls beside the face, there is such a constantly vary- 
ing play of light and answering shadow, the color of the hair 
itself is so modified by tlie light which falls upon it, that little 
more in the way of color or ornament is required. The pres- 
ent fashions, however, for dressing the hair, allow of more 
opportunity for the display of artistic taste and contrivance, 
and adapt themselves well to many styles of beauty. 

To the sunny, cheerful face of the youthful maiden there 
can be no elaborate style of coiffure so becoming as the free, 
natural flow of hair in curling or waving masses, or even in 
the broad braids of a few years back, yet there is a certain 
dignity imparted to some countenances by the present con- 
trivances of the Parisian hair-dressers. 

The point for us to note, however, is that all the new styles 
of dressing the hair admit, and in many cases require, arti- 
ficial additions, and that with one or the other of them, there- 
fore, there can be no want of opportunity to introduce color 
to any desired extent. 

The color of the tiny bonnets now in vogue, as we have al- 
ready observed, has more influence upon the hair than upon 
the complexion; and the same may be said of the smart httle 
hats which very young ladies affect so much. But the fashions 
change so rapidly in this respect, that it is not worth while to 
dwell upon them here at any length. 



JEWELRY. 

Jewels may be made to serve more purposes, even as 
ornaments, than would be supposed by those who have never 
given the subject much attention. They possess not meroly 
their own intrinsic value, or a value as advertising the 
wealth of the possessor, but independent of these considera- 
tions, they have an artistic value and use. 

It has been shown of what great service gold might be 
made in harmonizing contrasting colors, and in adding 



HOW TO DRESS. 19 

splendor to even the richest. In many other cases its value 
is of no less importance in subduing colors which are harsh, 
crude, or undesirably strong. 

The watch-chain and bosom-pin may in such cases be 
turned to excellent account, but judgment must be exercised 
in their application. Dead, or lusterless gold, and bright, 
or burnished, should be selected for the purpose not indifl'er- 
ently, but according to the eflfect they are desired to pro- 
duce. 

In the selection of necklaces and bracelets, the texture and 
color of the neck and arm should influence the choice not 
only of the golden ones, but of the enameled, and those en- 
crusted with gems. The same remarks that apply to the ef- 
fect of colors upon the complexion will be found valuable for 
reference in choosing necklace and bracelets, the snowy 
white, round arm, or polished ivory throat, bearing the con- 
tact of gems that would render an arm or neck inclined to 
sallowness, or tinged too much with red, simply hideous. On 
the other hand, these latent tints of yellow, green, or red, 
may be in a great measure subdued and concealed by skillful 
adjustment of the strong points of color in the ornaments 
upon their surface. 

Gems are a valuable addition to dress, as points of intense 
color to serve as the focus or concentration of some diffused 
or scattered color, or as a point of condensed and brilliant 
contrast. As a contrast, a brilliant gem resting upon a dark, 
rich color, black, or pure white, is of singular value. 

But it is not alone as points of intense tone, of sharp, bril- 
liant contrast that they are available. They serve also as 
suggestive of that similitude in dissimilitude of which poets 
and poetic commentators have often spoken. Of course we 
must not rate their value too high. Steele writes : 

"What jewel can tb«»^harming Cleora place in her ears 
that can please the beholder so much as her eyes? The cluster 
of diamonds can add no beauty to the fair chest of ivory that 
supports it." 

And again he says : 

"The pearl necklace can only be of use to attract the eye of 
the beholder, and turn it from the imperfections of the fea- 
tures and shape." 

But it must be borne in mind that Steele was writing in the 
character of a censor, and his object was to set bounds to a 
prevalent extravagance. A diamond cluster will enhance the 
brilliancy of the whitest skin, and pearls are the most perfect 
adornment for a lovely neck. Yet these are also dangerous 
additions to the sallow and over-florid complexions. 

To be really effective, jewelry should be employed sparingly, 



20 ^ ^ HOW TO DRESS. 

and with discrimination. Better far a little that is really valu- 
able and well-selected, than a profusion of cheap, ill-assorted 
ornaments, though it may be bad and in bad taste if it is ever 
so costly. 

What a lady requires is to have sufficient for choice, as what 
will be eflective and beautiful with one dress may entirely ruin 
the appearance of another of difierent style and color. Pure 
gold is valuable with almost any dress, but the gems require 
more discretion in their use. 

The proper selection and use of jewelry is a prime test of 
good or bad taste. Especially should ladies seek to possess 
artistic jewelry, even if they find It difficult to obtain. The 
superiority of beautiful designs and forms over mere lavish 
employment of material is shown in the exquisite Greek, 
Etruscan and Roman designs which can now be obtained, and 
which certainly ought to entirely supersede the clumsier pat- 
terns so long in vogue. 

Jewels of perfect forms set in the elaborate and exquisitely 
beautiful designs of Cellini and Holbein would add grace to 
the loveliest forms and fairest complexions. 

Stones, however rich and rare in themselves, can be proved 
of secondary importance where the designs are artistic and 
perfect. Enamel with spots of gold, a few brilUants, emer- 
alds, rubies, or pearls, disposed with taste and intelligence, 
can be made to produce all the effect that can be desired, even 
in point of color, while delicate workmanship and chasteness 
of design will far out-balance a more valuable collection bf 
stones in a ruder setting. 



OCCASION. 

Having fully considered the subject of color in relation to 
dress in the preceding chapters, we now come to another con- 
sideration of equal importance in the eyes of those who are 
anxious to acquire the art of dressing well. This is the style, 
texture and general effect of dress in relation to the occasion 
upon which it is to be worn. 

No lady requires to be told that it would be inappropriate 
to go to church in her ball-dress, or to appear at the opera in 
her chintz wrapper, but there are many nicer shades of dis- 
crimination which will sometimes puzzle even those who con- 
sider the subject of paramount importance. 

A toilet may be offensive to good taste by being out 
of place or out of season, as well as by being glaringly inhar- 
monious in color or slovenly in detail. The idea that you 
may escape unnoticed, that "just for once" you may appeay 



HOW TO DRESS. 21 

inconsistently dressed, is a dangerous one, and apt to draw 
upon the wearer the credit for eccentricity, or bad taste, which 
a true lady should carefully avoid. 

In suiting a dress to the occasion upon which it is to be worn, 
there is more to be considered than the mere personal ap- 
pearance of the wearer. In itself the dress may be exquisite- 
ly tasteful, graceful, and becoming to both face and figure, 
and yet, from its want of adaptiveness to the occasion upon 
which it is worn, will appear absurd and most unbecoming. 

It is also, when accepting invitations, due to your host or 
hostess to dress in accordance with the entertainment to 
which you are invited. An appropriate dress will increase 
your popularity in society, as well as an appropriate deport- 
ment. 

There is more importance than is usually attached to one 
occasion, and that is the dress appropriate for visits of con- 
dolence. It is not, of course, expected that you will put on 
mourning for your acquaintances and friends, or their rela- 
tions, but in calling upon the survivors in their affliction, it 
may affect them painfully, and impress them with a want of 
sympathy on your part, if you appear in very bright or gay 
colors. A quiet style of dress, although it may in itself pass 
unnoticed, will not jar painfully upon hearts recently bereav- 
ed, and it is as delicate a way of expressing sympathy as is 
a quiet tone of conversation, or the avoidance of frivolous 
subjects. 

And in connection with this subject it must be remember- 
ed that every part of the dress must be considered in refer- 
ence to occasion. The out-door costume must have bonnet 
or hat, cloak or shawl, gloves, boots, and other details 
adapted to the festival or party as well as the dress. A dress 
for a sailing-party, if perfect in all other respects, would be 
ruined by an expensive lace shawl, or a pair of delicate, thin- 
soled boots. So, in an in-door dress, heavy walking-boots 
would be as inappropriate as a bonnet or parasol. 

Fashion is such a capricious goddess that it would be im- 
possible to follow all her whims and vagaries in our little 
volume; we do not propose to give the fashionable costume 
for every occasion, but to lay down such general rules as will 
enable our readers to appear appropriately dressed for all 
occasions, if they but add to them the prevailing mode of 
trimming and style. 

MORNING DRESSES-BREAKFAST. 

Morning dresses must be in a manner adapted to the cir- 
cumstances of the wearer, as well as the hour of the day. A 



22 HOW TO DRESS. >" 

lady in her own home at breakfast may wear a simpler cos- 
tume than would be suitable if visiting, or at the table of a 
large boarding-house or hotel. 

M the wearer expects to pass a portion of the morning in 
domestic duties, the care of an infant, the dressing of older 
children for school, the preparation of delicacies for the table, 
or arranging her own parlor or bedroom, the most suitable 
dress is a chintz or gingham, made loosely enough to allow 
free play of the figure. A linen collar and cuffs form a suit- 
able finish, and the hair should be neatly arranged without 
ornament, unless the loss of hair compels the use of a plain 
cap. The dress for receiving morning calls will be given in 
another chapter. 

It is well, over the simple dress described, to wear a large 
giogham apron while engaged in domestic pursuits, as it will 
protect the dress, and can be more easily washed. 

For breakfast in visiting, or at a public table, the loose dress 
of home would be out of place. A wrapper is suitable only 
for an invalid, or the dressing-room, and the breakfast dress 
should fit the waist closely, even if allowed to remain open in 
the skirt over a dressy petticoat. French cambric, white 
barred muslin, pique, or Marseilles, and even lawn, are all 
perfectly suitable materials for summer breakfast dresses, and 
should be trimmed tastefully, as the prevailing fashion dic- 
tates. In winter any woolen goods made simply and trimmed 
quietly will make an appropriate breakfast dress. 

It is permitted to wear a gayer style of cashmere and delaine 
in a breakfast dress than in the material for occasions later in 
the day, but these will be found more becoming if trimmed 
with folds of silk of a solid color, especially broad folds down 
the front. 

Breakfast caps must be light, but not very dressy, and be 
careful that the hair is neatly arranged under them. No cap, 
however graceful, will compensate for slovenly, rough locks, 
guiltless of comb and brush, and scarcely half hidden beneath 
it. 

Linen is the most suitable material for the collar and cuffs 
worn at breakfast, though narrow ruffles of lace may be sub- 
stituted. The more expensive laces are as much out of place 
as a head-dress of artificial flowers would be. 

Let the jewelry worn at breakfast be of the simplest de- 
scription, and only such as is absolutely necessary to fasten 
the collar, cuffs, or belt. Bracelets, necklaces, and other ar- 
ticles worn for ornament alone, are entirely out of place, and 
so are expensive gems or elaborate designs. 

Ribbons, unless used for actual trimming, and velvets, are 
also in bad taste. There is no occasion when a severe sim- 
plicity of style is more becoming than at the breakfast-tablec 



HOW TO DRESS. ^3 

The same costume in which you would appear at the table 
of a friend to whom you were paying a visit is also suitable 
for the head of your own table when you are entertaining 
visitors. 

Slippers are always permissible in the breakfast dress, 
though those of embroidered cloth or canvas are in bad taste 
outside of the dressing-room. Kid, with a rosette or bow of 
ribbon, is the most dressy slipper allowable for appearance at 
table. 



MORNING DRESSES— SHOPPING. 

In dressing for a shopping expedition the lady skilled in 
dressing well will be observed to be studiously neat, quiet, 
almost what might be called business-like, in her attire. She 
will avoid anything decided in her appearance, or in any way 
dressy, while she will endeavor to have all compact, quiet, 
and lady-like. 

The most useful dresses for shopping are composed of 
materials that will bear the crush of crowded stores without 
injury, and fringes, laces, streamers of any kind, are best 
avoided. Flounces are apt to suffer severely in a shopping 
tour, and long, trailing skirts will be apt to carry home a 
long rent, or the stains from the floors or articles always more 
or less in the way in large stores. 

Jewelry is entirely out of place, and the danger of loss is 
very great. If the watch is worn it is best to have the chain 
as much concealed as possible, and occasionally to assure by 
touching it that it is safe. Bracelets, or showy ornaments of 
any kind, are in excessively bad taste, and any conspicuous 
article of attire is best avoided. 

In shopping dresses the pocket should be deep and strong, 
but it is better for small packages to carry a leather satchel 
in the hand. A sacque, or tight-fitting coat, will be found 
much more serviceable than a shawl or cloak, either of which 
will be apt to catch and drag small articles from a counter. 

Kid gloves, if worn in shopping, had best be removed from 
the right hand when fabrics are handled and examined, as the 
contact may soil, while the movement will certainly strain 
them badly. Lisle thread gloves in summer, and cloth ones 
in winter, will be found much more serviceable than kid. 
_ As shopping is usually undertaken in the morning, the 
simpler the dress the more suitable it will appear. Rich silks, 
velvets, or any thin goods, will suffer more from one morn- 
ing's shopping than from any other ordinary wear, while they 
are at the same time in bad taste. 

Alpaca, poplin, and linen, are all serviceable for shopping, 



24 HOW TO DRESS. 

or any of the more inexpensive fabrics used for walking- 
dresses may be worn. Let the color be neutral and subdued, 
and the style of making quiet, avoiding over trimming, 
ruffling, or flounces. Black is not a very good dress, as it 
shows so soon any contact with the dust unavoidably en- 
countered. Linen collar and cuffs are most suitable, and 
strong walking-boots will be found the best. 

The bonnet or hat should be of quiet color and inexpensive 
material, avoiding feathers, gay flowers, or long streamers. 
In stormy weather the waterproof suit, with hood drawn over 
the head, will be more convenient than an umbrella, which is 
very much in the way, and apt to be lost by carelessness or 
dishonesty. 

If a large sura of money is carried, it is best to have two 
pocket-books, one to carry in the hand for change, the other 
carried in the bosom, or in a pocket in the skirt under the 
dress. A large pocket-book for change will be found con- 
venient if you wish to procure cards from any of the dealers 
you may visit. 



MORNING DRESSES— PROMENADE. 

When the morning walk assumes the character of the 
promenade, where it is for pleasure rather than in the per- 
formance of a part of the duties of the day, more of richness 
and stylishness is not only allowable, but is to be desired. 

The present fashions — 1882 — admit a brilliancy of coloring 
in the dress, and a costliness in the material, that a few years 
ago would have been considered glaring and in bad taste. 
Of course much must depend upon the age and circumstances, 
but color is so pleasing to many, that the gay panorama of 
the streets in our leading cities will doubtless be attractive to 
many, besides allowing scope for the display of wealth, and 
discrimination in the assortment oi color. 

Certainly ladies would confer a favor upon their fellow- 
citizens by venturing, as far as good taste will allow, in select- 
ing cheerful and becoming walkmg-dresses. But they must 
be such as are pleasing in themselves, and harmoniously com- 
bined. Crude and discordant combinations or colors, that are 
harsh and glaring separately, are worse than the dullest hues, 
and suggestive of vulgar taste in the wearer. But rich, and 
strong colors, if agreeable in therhselves, and arranged with 
skill, may be worn without suspicion of ostentation, singular- 
ity, or a desire to attract attention, and, indeed, with the 
fullest recognition of modesty and taste. 

In planning the arrangement of colors for a walking-dress, 
it must be kept in mind that the whole dress is seen, and 



HOW TO DRESS. 25 

seen at once— a contiDgency that seldom happens indoors. 
Here, therefore, is full scope for the application of the laws of 
harmony of color. Not only the dress itself, but cloak, shawl 
or sacque, if the whole be not in uniform suit, bonnet or hat, 
gloves, parasol, all that is worn and all that is carried will as- 
sist or impair the general effect, and none of them can be 
safely overlooked or neglected. The appearance of many a 
lady's dress is ruined, and she herself judged guilty of bad 
taste, by a pair of ill-chosen gloves, or a flower or feather in- 
congruous with the rest of her apparel. 

In the selection of the diflerent articles of attire which form 
Llie walking-dress, you must bear in mind what was said in 
our early chapters respecting quantity and proportion. There 
must be no contest as to equality in the colors ; no approach 
even to parity between the masses of color in the skirt of the 
robe and the cloak or sacque, if the dress is not in suit, and the 
diflerence should be greater in proportion to the distinction 
between the colors. One must unmistakably predominate. 

This end, however, may be easily attained. Eemember if 
there are two leading colors, both must not be primary, and 
if the extent of each leading color be at all nearly equal^ both 
should not be decided colors, nor both of equal depth of tone. 

For example, whether the colors contrast or are comple- 
mentary, they must be opposed in intensity as well as kind. 
One should be decidedly darker or less vivid than the other. 
A vivid color, when in quantity, as in the skirt of the dress, 
seems to require the presence of one comparatively neutral, 
as in the overskirt, sacque, shawl, or cloak, in order that the 
contrast may be satisfactory to the eye. One less positive, or 
a comparatively colorless mass, will take a smaller opposing 
quantity of a more decided tone. 

In these instances the bonnet or hat will be found very 
valuable in reconciling what is discordant, and supplying 
what is needed to complete the harmony. It will also serve 
to repeat, and, as a painter would say, to carry off the prin- 
cipal color. This principle of the repetition or distribution of 
the leading color is a well-known law in art. No large mass 
of color can safely stand alone. It should recur in smaller 
quantities in other parts of the dress, as it is made to recur 
in smaller quantities in other parts of a picture; not exactly 
of the same tone, nor even necessarily of the same kind, but 
of greater or less intensity, or as a modified tint, according to 
the quality and character of the principal color. But the 
repetitions must be judiciously managed, as to position and 
quantity, or the principal color will be frittered away. 

The bonnet or hat must be adapted to the dress, if the dress 
as a whole is intended to look well. Should fashion dictate 



26 HOW TO DRESS. 

that the fronts of bonnets be again displayed, the way in 
which to adjust them will need care and consideration, so as 
to suit the shape of the face, and the chapter on complexion 
will be found useful in selecting becoming linings and trim- 
mings next the face. Even now the ribbons which form 
the bow under the chin, or the falls of ribbon or lace on each 
side of the face, should be carefully selected to suit the com- 
plexion, and tested in strong daylight before being worn. 

The coquettish little hats now in vogue can be made most 
valuable by their form and trimming towards setting off a 
brilliant complexion, brightening a dull one, counteracting 
the sallow, and subduing the over-florid tints. 

The feathers, flowers, and ribbons are more serviceable in 
displaying the beauties of the hair by harmony or contrast, 
and have but little effect upon the complexion. 

Collars and cuffs in the stylish walking-dress must be of fine 
lace, and a handsome brooch, watch-chain, ear-rings, sleeve- 
buttons, and bracelets (of plain gold) are admissible. 

Gloves must be of kid, and the color carefully selected to 
harmonize with, or be in favorable contrast to the leading 
color in the dress. 

Rich silks, velvets, and all the more expensive fabrics, are 
now worn in walking-dresses, and of every color. The vivid 
colors, however, must be deep in tone to appear well, al- 
though the neutral tints may be worn light. White is only in 
good taste in heavy material, such as marseilles, alpaca, and 
in silk can only be worn in trimmings. 

However rich and stylish, the dress for promenade should 
never be conspicuously gay. A bright color is in much better 
taste as a trimming or decoration in very small quantity, than 
in the leading color, and the general eflect is much better if 
subdued than if too strongly pronounced in tone, either from 
color or make. Dash in dress is unbecoming in the street. 

In winter costumes furs will necessarily take a prominent 
place, and their color should be considered carefully. It is 
only in the richest and most elegant walking-dress that 
ermine can be worn, and it is really more adapted to evening 
than street wear. When, however, it is worn for the prome- 
nade, only velvet or the richest silk will bear the contact with 
its snowy surface. 

On the other hand, squirrel-skin can be worn with only the 
most subdued dress, of plainest make and material, or in 
mourning. 

Sables, mink, and the many varieties of brown- tinted furs, 
may be safely worn with almost every color, and add rich- 
ness and beauty to any fabric with which they come in con- 
tact. If Uned with silk, it will generally be found that a 
perfect match in color has a better effect than a gay- colored 



HOW TO DRESS. 21 

lining, and the trimming will not then jar by glaring con> 
trast with the prevailing tone of the dress. - 

For the country, promenade dresses may be in appearance, 
as well as in reality, more adapted for service than for dis- 
play. Colors, fabrics, and fashions, that would be tasteful 
and elegant on the streets of a large city, would appear 
ridiculous in shaded lanes, the woods, or even the streets of 
a little village. Here more inexpensive fabric is in good 
taste, but a livelier coloring is admissible, while stouter boots, 
broader-brimmed hats, or warmer hoods, will be found useful 
and in good taste. 

Over dress in the stfeet is vulgar, but the utmost elegance 
and richness may be permitted if the etfect is so subdued as 
to avoid any conspicuous display, or any glaring effect. 



MORNING DRESSES, 

TO RECEIVE CALLS. 

The dress for receiving morning calls will allow a lady full 
scope for the display of her skill in the arrangement of color 
to be seen by daylight. 1 

Ladies whose visiting list is large will find it much more 
convenient to set aside one day in the week for the reception 
of morning visits, and be in their drawing-room fully ready 
for calls at the hour appointed. 

Not only may the hostess exercise her skill and taste upon 
her own dress, but she has full control of the accessories. We 
may pity, but can scarcely forgive, the hostess who is in- 
human enough to subject her callers to the test of light green 
wall paper, and there are other solecisms quite as bad. 

The morning dress, as a rule, requires quiet colors, but, if 
vivid or intense tones are used, they must be controlled by 
the laws already given for harmony and contrast. Richness 
of material is admissible, and where the list of callers is very 
large, is requisite. Also, upon special occasions, a handsome 
dress is necessary, but for transient callers, the dresses appro- 
priate for breakfast will be perfectly suitable. For New 
Year's calls, the richest dress is the law, and if the parlors 
are closed, and artificial fight used, full evening dress may be 
worn with perfect propriety. 

As a rule, quiet colors are preferable for any morning dress, 
but Fashion plays such strange and unexpected freaks, that 
it is within the bounds of possibility that she may even decree 
the subversion of established rules in this particular. But, 
speaking subject to her correction, it may be said that good 
taste requires that in the in-door morning dress there should 



28 HOW TO DRESS. 

be but little positive color; that the tone be quiet, the whole 
style simple, graceful, and dependent for* effect upon a finished 
and exquisite neatness in detail. 

Here, as elsewhere, there must be, of course, the difference 
exacted by station in society. The busy little housewife, 
whose incora^ is small, and who has every hour usefully 
employed, would appear ridiculous receiving her friends in 
the superb silk that may be worn with perfect propriety by 
her sister in the fashionable circles, with unlimited command 
of money, and no master but the dictates of custom to obey. 

The most suitable materials, however, are those inexpensive 
goods which range between the chintz'and silks. Linen col- 
lar and cuffs may be worn if the whole dress is of studied sim- 
plicity, but with finer material and more stylish make, lace is 
a more becoming finish. Elaborate trimming is out of place, 
and so, also, is very conspicuous jewelry. 

Pique, marseilles, cambric, lawn, and muslin, are all appro- 
priate materials for summer wear, and Id winter alpaca, pop- 
lin, delaine, merino, or cashmere, are appropriate. Trimmed 
neatly, with handsome collar, cuffs, and subdued jewelry, a 
lady will be well dressed for morning calls in any of these 
materials. 

A lady should always avoid wearing what have been elabo- 
rate afternoon or evening dresses, partly worn, in the reception 
of morning calls. Shabby finery is always detestable, and 
never more so than in the morning. The simplest dress, 
fresh and appropriate, will appear much more lady-like than 
half-worn dresses of rich material. 

Slippers are admissible, of kid, trimmed, and form a very 
coquettish addition if trimmed to match the dress. A simple 
head-dress may be worn, but no flowers, nor anything glaring 
or elaborate. 

Many ladies adopt the dressy wrapper as a dress for the re- 
ception of morning calls, wearing it often open over an elabo- 
rately tucked or embroidered petticoat, with embroidered 
slippers and breakfast cap. If such a dress is worn, it must 
be very handsome, or it will appear out of i)lace. Strictly 
speaking, as we have said before, this dress is inappopriate 
excepting for the dressing-room, or for an invalid receiving 
callers in her own room. It may then be worn with perfect 
propriety. 

Breakfast shawls are not approi)riate. They may be thrown 
round a breakfast dress, ancl serve sometimes for a finish, but 
as a rule they are in bad taste, and too often used to cover 
deficiencies, to appear well in a drawing-room, unless ill 
health requires their use. Even then a warmer dress will be 
much more becoming. 



HOW TO DRESS. 29 

If a piece of fancy work is carried in the hand, be careful 
that its bright colors do not utterly ruin the effect of your 
dress. We have seen an exquisite dress entirely marred in 
effect by contrast with a vivid scarlet pin-cushion in the hands 
of the wearer. 



OUT-DOOR DRESSES-DRIVING. 

We have already given the promenade dress under our list 
of costumes to be worn in the morning, and now come to 
another scarcely less important consideration, the morning 
or afternoon drive. 

The dress must be governed by the strictest rules of adapt- 
iveness, and we can give only general broad directions. 

For driving in a handsome private carriage through the 
streets of a large city, or in the fashionable Park, the most 
elaborate out-door costume is expected. Richest silk, velvet, 
and lace are all appropriate, and elaborate style and trim- 
ming are allowable. In summer, light, thin goods, shawls of 
white or black lace, dainty lace bonnets, gloves of light-col- 
ored kid, light, dressy boots, collars and cuffs of fine lace, and 
jewelry that is rich and tasteful, are all strictly appropriate 
for the full-dress drive, while in cooler weather the white vel- 
vet sacque, black velvet cloak, or rich wrap of any material 
may be worn. 

A carriage blanket of fur^' somber color, will be found 
more generally becomingmsetting off the handsome costume 
suitable for a 'full-dress drive, than the gaudy Afghans now In 
vogue, which too often destroy, by inharmonious contrast, the 
effect of the most tasteful costumes. 

Furs are a handsome winter addition to a handsome winter 
driving-dress, and white ones may be worn with perfect pro- 
priety if the remainder of the dress is elegant and costly. In 
summer a dressy little parasol for the open barouche is a 
pretty addition to the dress. 

In the country, however, the driving-dress should be of en- 
tirely different style, as the roads are always either dusty or 
muddy, and the style of carriage usually different from that 
used in the city. 

The most appropriate dress for a country drive in the sum- 
mer time is linen, or some other wash goods, from which the 
stains of mud or dust may be afterwards removed ; a straw 
hat, simply trimmed, and thread gloves; over the dress a large 
cape- or duster of linen should be worn, and even in the win- 
ter this addition will be found a most valuable protection 
against the mud or dust of the road. In winter a simple 
dress of woolen material, and dark or squirrel-skin furs, with 



80 HOW TO DRESS. 

a felt hat, forms a genteel driving-dress. If the lady drives 
herself, the most suitable gloves are of wash leather or cha- 
mois-skin, beaver-cloth or broadcloth. Kid or thread are 
too delicate to look well after contact with the reins. 

Many prefer the short walking-dress for driving, and it is 
certainly more convenient if the carriage is small or crowded, 
and les% liable to come in contact with the wheels. A very 
pretty suit is of Scotch gingham, sacque and dress alike, trim*- 
med with broad, white marseilles braid, and marseilles but- 
tons ; a straw hat with ruche of ribbon round the crown, and 
thread gloves. Linen, made into a short walking-suit, is also 
a becoming driving-dress for the country; nankeen, marseilles, 
piqu6, indeed any of the summer materials of rather heavy 
thread are all perfectly appropriate, for either young or elder- 
ly persons. Nothing of very delicate color or fabric is suitable 
for the country drive. 



OUT-DOOR DRESSES-RIDING. 

Theee is no occasion upon which a handsome, well-formed 
woman may appear to greater advantage than when dressed 
in a becoming and appropriate riding-dress. Not only the 
colors and materials, but the make, finish, and trimming, all 
allow and call for the exercise of good taste, perfect fitness, 
and exquisite adaptiveness. Whether for the ride in the 
fashionable park, where she may be the object of severe crit- 
icism or admiration, or for the quiet country road, surround- 
ed only by Nature's beauties, a lady on horseback depends 
very materially upon her dress for efiect. The most graceful 
and finished rider will appear awkward and to disadvantage 
if her habit fits clumsily, or makes conspicuous wrinkles, and 
no jewelry in her whip-handle will cover up a pair of dirty or 
torn gloves, or even compensate for a want of harmony in 
color. 

The first requisite for a fair equestrienne is that the habit 
fit the figure perfectly, yet easily. A dress that sets loosely 
will never display its wrinkles so conspicuously as upon 
horseback, and otie that is too tight is equally bad. The 
sleeves must be long enough to allow of some play of the arm 
and wrist, yet not interfere with the motions of the hand. 
The skirt, while full, graceful, and flowing, must avoid the 
extreme length, which soon becomes disfigured by the mud of 
the road, and is positively dangerous if of material light 
enough to be caught by the wind. The boots must 'be of 
stout material enough to resist the friction of the stirrup, and 
the gloves gatmtleted and fitting the hand smoothly. 

The most serviceable material for a habit is waterproof 



HOW TO DRESS. 31 

cloth, the most dressy, fine broadcloth. In summer linen and 
nankeen may be worn, but should be very heavy, and the hem 
of the skirt shotted to keep it down. 

The most becoming and appropriate riding-dress is made 
to fit the waist closely, and button to the throat, with sleeves 
(coat pattern) coming to the wrist. Linen collar and cuffs 
are en regie. If the waist is cut to open over a shirt front, 
the latter must be of plain fine linen, never of lace or em- 
broidery. It is better to have the body separate from the 
skirt, in a basque or jacket, and to have an underskirt of the 
same material, the usual length for walking, that in case of 
any mishap to the long skirt, it may be easily removed. 
Many ladies have the dress made entire of walking length, 
and then wear over it the long riding-skirt, belted neatly at 
the waist. 

Bright colors are not in good taste on horseback, deep blue 
or green, and in summer a buff, in linen or nankeen, being 
the most conspicuous colors allowable. The gloves must be 
of buckskin, or beaver cloth, and of buff, white, or neutral 
tint. A little liveliness in the necktie is sometimes permitted, 
but a narrow black ribbon is in better taste. 

In the hat wear a compact shape, and avoid anything that 
will stream on the wind in trimming. The veil must be care- 
fully secured, and the hair arranged as snugly as possible. 
However pretty and graceful floating ribbons and fluttering 
curls upon horseback may be in theory, in reality they will be 
found annoying to the rider and her escort, soon blowzy and 
unbecoming, and always in bad taste. 

Jewelry is entirely out of place, excepting what is absolute- 
ly necessary to fasten the difierent parts of the dress, and 
what is worn must be of the plainest kind. If a feather is 
worn in the hat, it must be carefully secured, and held away 
from danger of falling over the eyes. 

The whip should be carefully secured to the waist by an 
elastic band. Taste and richness may govern the selection of 
this little article, which is often made a token of friendship, 
and affords scope for the exercise of some coquetry in wear- 
ing. Glittering stones are not in good taste, but the handle 
may be finished with gold, enameled, decorated with coral, 
or, in short, allowing any freak of fancy in its manufacture. 

The trimming for a riding-habit must invariably be flat. 
Ruffling, puffing, or flouncing, are all out of place. The 
handsomest finish is a narrow braid of black, or a perfect 
match for the material, sewn on in an elaborate pattern. 
Large buttons form an appropriate finish, and young ladies 
may allow their fancy some play in the selection. Fancy 
hairnets, gaudy hat trimmings, flashing jewelry, are never 



32 HOW TO DRESS. 

more vulgar than when exhibited in a riding-dress, while 
simple elegance has here one of its most appropriate oppor- 
tunities for display. 

As a rule, the heavy materials are the best in a habit. Al- 
paca is sometimes worn, but is unsuitable, being liable to tear 
easily, to be caught by the wind, and looking flimsy and 
cheap. If the weather requires a body of lighter material 
than is appropriate for the skirt, it must be a perfect match 
in color and density of material, or it will look very badly. 

In winter a habit is very appropriate and handsome made 
of broadcloth, litting the figure perfectly, with a basque waist, 
trimmed at the throat, wrists, and round the skirt, with fur; 
a cap of velvet the same color as the dress, or a happy con- 
trast, trimmed with a fur band and ear-covers ; gauntlet 
gloves of dark cloth, embroidered, and boots of stout leather 
with a fur band. 

In summer a dress of heavy linen, braided with fine braid, 
white, or the color of the dress; a straw hat, trimmed with 
a close plume or knots of ribbon (avoiding any dangling or 
floating trimming); gloves of white or buff wash-leather, and 
boots of kid, is handsome and appropriate. 

A loose sacque or jacket is very awkward on horseback. It 
makes a graceful figure appear clumsy, and will conceal no 
defects if the figure is bad. We should recommend those who 
are not so fortunate as to possess a symmetrical figure, to 
avoid too public a display on horseback ; as there is no dress 
in which there is so little opportunity of artistically conceal- 
ing, or of veiling from prominent notice, any natural defects. 
Still, a lady of a most graceful figure, not completely at ease 
in the saddle, will often compare quite unfavorably with one 
less naturally gifted, but possessing the great advantage of 
thorough proficiency in the art of riding. 



OUT-DOOR DRESSES— CHURCH. 

It is too much the custom in the cities of the United States 
to make the house of public worship the scene for the display 
of finery, and to think more of the bonnets worn by ourselves 
or our neighbors than of the purposes for which the congre- 
gation is assembled together. To go to church " to see and 
be seen," it is needless to say, is the aim of too many of the 
fair sex, and it would be useless as well as absurd to enter 
upon a sermon against such vanity within the compass of our 
Httle book. 

We by no means would advocate appearing in the sacred 
edifice in a careless, slovenly dress. It would be a gross dis- 
respect of the place and the occasion, but we insist that the 



HOW TO DRESS. 33 

lady perfect mistress of the art of dressing well, will not select 
Sunday for the display of finery. A simple, modest elegance 
will mark her church-going costume, perfect in neatness, 
taste, and in finish, yet with nothing conspicuous to attract 
attention or provoke comment, even if admiring. 

Rustling silks are especially annoying in church, as the 
least movement of the wearer causes them to make a noise 
sufficient to make inaudible for the moment the voice of the 
preacher. Strong perfumes are another mark of low breed- 
ing, as many of them are intensely disagreeable to some per- 
sons, one of whom may be obliged to bear the annoyance of 
its close proximity during the entire service. 

Indeed any peculiarity that by attracting attention disturbs 
the devotion, or causes annoyance to others, is in the worst 
possible taste in church, bad enough, we admit, in any public 
place, but worst of all there. 

Materials that make no rustling, softwoolen fabrics in win- 
ter, and noiseless fabrics in summer, will be found the most 
agreeable to wear in church, and can be made handsome and 
appropriate. It silk is worn, the heavier it is the better it will 
serve the purpose. 



OUT-DOOR DRESSES-SKATING. 

Warm tints, rich materials, and rcom for free play of the 
Umbs, are all to be observed in the choice of this most co- 
quettish of all dresses. The skirts must clear the ankle, and 
the sacque or basque must leave the arms perfectly free. 

Velvet trimmed with fur, turban hat of the same, high kid 
boots with fur tops, and gloves fur-bound at the wrists, will 
make the richest skating costume; but more inexpensive ma- 
terial, tastefully made and trimmed, can be made very effect- 
ive. Cashmere, broadcloth, merjno, and poplin, are all suit- 
able materials for this dress, and velvet, ribbon, gimp, in fact 
any trimming fashion dictates, may be worn, although noth- 
ing is so becoming, comfortable and appropriate as fur. 

The boots must be sufficiently loose to allow the skate to 
be fastened securely without in any way cramping the foot. 
Not only is all grace of motion and comfort destroyed by 
tight boots, but the danger of frozen feet is much increased 
by this interference with the circulation of the blood. 

The muff" should be attached to a ribbon or cord and sus- 
pended from the neck, and should be quite small, just large 
enough to hold the hands comfortably. 

Any display of jewelry is vulgar, only that necessary to 
finish the dress being in good taste. Jeweled clasps for the 
hat, feather, and other displays of the kind, are all in bad 
taste. 



34 HOW TO DRESS. 

Scotch plaid for some portions of tlie dress, without being 
too prominent, has a very pretty effect. 

Crimson, and the deeper shades of blue, purple, rich 
browns, and black, when somewhat relieved by contrasting 
colors, are all in better taste for the skating-dress than light 
blues, or greens, or any of the cold neutral tints. If green is 
worn, it should be of a dark shade, and relieved by rich, dark 
furs. Velvet of the richest quality, with mink trimming, is 
handsome in dark green, but trying to most complexions. 

Floating ribbons, veils — unless masks in shape — fringe, or, 
in fact, any trimming that is apt to catch, will be found trou- 
blesome upon the ice, although they add to the grateful ap- 
pearance of a finished skater. 

"White furs, though a beautiful finish to a rich velvet dress, 
are suitable for no other, and should be worn only by a skater 
of experience, as the novice will find them much injured by 
fallmg, and a soiled fur will ruin the handsomest dress. 

Broadcloth, or any woolen material, is handsomest trimmed 
with dark fur, or broad folds of velvet the same color as the 
dress. Silk will bear white fur, but is not a material adapted 
for the dress, unless very heavy and corded, and of a rich, 
warm color. Irish poplin, of claret color, garnet, dark blue, 
or brown, trims well with white or dark fur, but the lighter 
silks are not effective or appropriate. 

Fur may be worn at the throat, wrists, ankles, on the edge 
of the jacket, and even the edge of the skirt, on the cap or 
hat, and in a muff. Ear caps of fur are comfortable, and be- 
coming. 

OUT-DOOR DRESSES-PICNIC. 

The picnic dress is by no means so simple a costume to 
arrange as may at first appear. Picnic is a word that in- 
vites the company to an entire day sj)ent in the open air, fine 
weather being understood, but not invariably attained. Iii 
selecting the dress it is fair to conclude that summer fabric is 
most suitable, yet a north-east rain or a heavy thunder-storm 
may send the wearer of pretty muslin or lawn shivering 
home to occupy a sick bed. Even supposing the day fair 
throughout, the' light fabric, so becoming and pretty in the 
morning, may be caught by bush or brier, stained by fruit 
or grass, and present a most woe-begone appearance by noon. 

The main objects are comfort, suitability, and beauty, and 
to combine the three is a practice in the art of dressing well 
by no means to be despised. Wash material is the best, thin 
enou^gh for comfort on a warm day, inexpensive enough for 
full Aedom, stout enough to resist thorns and branches, and 



ii 



HOW TO DRESS. 35 

yet admitting of taste in the color and fashion. The great 
variety of such fabrics will allow of a display of taste in the 
selection, even if the cheapest of chintz is worn. 

French cambric is one of the prettiest materials that can 
be selected for a picnic dress. It is light and cool, yet stout 
enough to bear some pulling and straining; it washes well, 
and can be made in pretty fashion. 

A broad hat, completely shading the face, thick-soled boots, 
and a waterproof cloak, should always form portions of a 
picnic dress. Parasols and umbrellas are thereby rendered 
superfluous, and they are always awkward additions. Lawn, 
muslin, and the varieties of white dress goods, make beauti- 
ful picnic dresses, but are apt to suffer severely if there is 
much climbing or active out-door exercise. 

Trailing skirts are out of place, but pretty gay ribbons may 
be worn, and are effective. Light, gay colors, happily blend- 
ed or contrasted, are perfectly appropriate. Many ladies dis- 
play a coquettish taste in a dainty little white apron worn 
while dinner is preparing and eaten, and then packed away 
in the lunch-basket. Gloves are best of white thread, that 
may be afterwards washed, but gloves at a picnic are not de 
rigeur, and may be left at home if the hand does not tan 
easily. 

There are numerous cosmetics for removing the tan, freckles, 
etc., that are apt to follow a day spent on a picnic, but the 
best preventives are gloves, a broad hat, and a material for 
the dress|thick enough to protect perfectly the neck and arms. 

OUT-DOOR DRESSES— TRAVELING. 

A lady's dress is never more exposed to criticism than wheii 
she is traveling, and there is no surer index of her taste and 
skill in the art of dressing well than is shown in this impor- 
tant costume. Vulgarity of taste will dictate a conspicuous 
style, utterly abhorrent to a refined eye, while quiet elegance 
is never more attractive than in a traveling companion. 

Jewelry, artificial flowers, lace, or finery of any kind in a 
traveling-dress, will prove the most vulgar desire for display, 
and conspicuous colors are in as bad taste. 

The great variety of goods now sold expressly for traveling- 
suits, affords full scope for the display of taste in a selection. 
Neutral tints are de rigeur, and a large linen duster is always 
a desirable wrap to protect the suit. In summer Unen is 
most comfortable, and has the advantage of cleanhness, as it 
can be washed often and look well. In winter, waterproof 
cloth, a dress and loose sacque,will be found the most servicea- 
ble wear. Thread gloves in summer, and cloth in winter, are 



36 HOW TO DRESS. 

preferable to kid. If furs are worn, squirrel skin will show 
the dust least, and are most economical, as expensive furs are 
often badly injured by the dust, dampness, and crushing of 
traveling. 

A traveling-dress should always be made quite short, and 
the underskirts should be of woolen in winter, and dark linen 
in summer; white petticoats will not look well but a very 
short time on a journey. 

^trong, thick-soled kid boots should always be worn in trav- 
eling, even in summer. 

The hat or bonnet must be trimmed compactly, without 
feathers or flowers, and protected by a thick barege veil. 

As no lady can appear well dressed in crushed or rumpled 
clothing, the following directions for packing a trunk are 
" added, that all may be fresh at the end of a journey: 

To pack a trunk neatly, every thmg should be laid out in 
readiness, neatly folded and sorted, the light articles divided 
from the heavy ones, and a supply of towels and soft wrap- 
ping-paper at hand. Spread a thick, clean towel over the bot- 
tom of the trunk, and place upon it the hard, flat things, such 
as the portfolio, work-box, jewel-box, music-books, writing- 
desk, and boxes; take care to fit them well together, so as to 
be level on top, filling in crevices with such small articles as 
will not be injured by compressment, as stockings, towels or 
flannels. Wrap all polished boxes in soft paper before pack- 
ing, and guard the corners well from rubbing against each 
other. Never use newspapers in packing, as they will cer- 
tainly ruin whatever clothing rubs against them. 

In packing shoeS; it is best to have a shoe-bag, or two 
pieces of calico bound together and divided into pockets, each 
large enough to hold one shoe. Spread this flat over the bot- 
tom of the trunk, if there is room left by the flat hard articles. 

Over this first layer spread another" towel, and then put in 
your flannels, linen, such dresses and petticoats as will bear 
pressure, and any paper boxes for gloves, handkerchiefs, or 
perfumes. On top of these put the more dressy petticoats, 
and handsome dresses, unless your trunk has a tray in the lid 
expressly for this purpose. If the trunk has no bonnet-box, 
put your bandbox in near the top. In the tray put collars, 
muslins, ..handkerchiefs, and a supply of writing-paper, and 
envelopes, a box of sewing materials, your laces, ribbons, 
gloves, parasol-box, veils, and any light articles you may wish 
to carry. 

To fold a dress for packing, spread it, right side out, upon 
the bed, and taking it by the hem, make the bottom exactly 
even all round. Next, double the skirt in half, lengthwise, 
and then in four, reversing the fourth fold. After this, turn 



HOW TO DRESS. 3t 

up, crossways, about one-third of the folded lower part of the 
skirt, tlien give tUe remainder of the skirt a fold backward, 
terminating at the waist. Then turn the body backward, 
front uppermost, and the back resting on the folded skirt. 
Spread out the sleeves, give each a fold forward at the 
shoulder, and backward at the elbow, and then lay them 
evenly across the body. Place the dress so folded upon a 
large clean towel, and fold this smoothly over it before placing 
it in the trunk. 

Under-clothing of all kinds will look much better at the end 
of a journey if folded instead of rolled, and will pack quite as 
easily. 

Shawls, cloaks, sacques, and veils, should be folded in their 
original folds before packing; gloves should be drawn out 
smooth and put in a glove-box. Collars and cuffs must lie in 
the tray, or, better still, in a paper box. 

A bonnet will look better after a journey if the flowers or 
feathers arc taken out and carried separately in a paper box, 
and the strings are smoothly rolled, not folded, upon paste- 
board. 

Leave always room in your trunk for a bag to receive 
soiled linen, if your journey is to be a long one. 

The traveling-dress should be always of material strong 
enough to bear some severe jerking and straining, and dark 
enough to conceal dust or spots, unless it is of material that 
will wash. It should fit easily, and a sacque of the same 
material is always best. Pockets in the sacque as well as the 
dress are convenient, and a strong pocket in the under-skirt 
is advisable. A collar and cufis of plain linen, fastened by a 
simple brooch and buttons, kid boots, and strong gloves, are 
in the best taste. A hat is generally more convenient than a 
bonnet, and should be of straw in summer, and felt in winter, 
simply trimmed. Any fancy material, lace or velvet, is in 
excessively bad taste in a traveling-hat. 

In addition, a well-dressed lady will be provided with a large 
linen cape or duster, a heavy blanket shawl, a thick barege 
veil, a waterproof cloak, and carry in her satchel an extra ' 
pair of boots and gloves, clean collar and cuffs. 

Shepherd's plaid, trimmed with fluted rulfles of the samfs, or 
with flat black braid, is a pretty and cheap material for travel- 
ing suits, and if of good material, has the advantage^of wash- 
ing well. '♦ ' 

If the journey is to be a long one, and there is a great deal 
of hand-luggage required, the duster will be found much more 
convenient made into a long sacque, wide enough in the skirt 
to perfectly cover and protect the entire dress, and furnished 
with large, deep pockets. The veil is a more perfect protec- 



38 HOW TO DRESS. 

tion if the elastic string is run through the middle, put over 
the hat and under the chin, allowing the veM to fall front and 
back. 

It is in better taste to wear the hair in smooth, compact 
style, than in curls or any flowing fashion, and it will be 
more likely to escape injury by railroad cinders and the dust 
of travel. 

When a journey is to be very long, especially in the win- 
ter, colored stockings, colored linen corsets, and colored 
skirts, will be found much more serviceable than white ones, 
especially if there is no stop to be made for washing. Soiled 
linen in a trunk is a most disagreeable addition, and it is not 
always convenient to carry a satchel for this purpose in the 
hand. For a sea-voyage it is best to carry an extra trunk 
especially for under-clothing, keeping the top and tray for 
soiled clothes. 



OUT-DOOR DRESSES FOR 
STORMY WEATHER. 

Every lady expert in the art of dressing well will be pro- 
vided with a full suit of seasonahle clothing for stormy weath- 
er, as there is nothing looks worse than expensive or dressy 
clothing worn under a cloudy sky or in a heavy storm. The 
material for a storm suit should be rather heavy, even in 
summer time, and a waterproof cloak is a valuable addition. 
The aqua scutum cloth varies so much in thickness that it can 
be worn at all seasons with comfort, and while it can be ob- 
tained quite light enough for a storm wrap in summer, it is 
also manufactured heavy enough for the entire dress in 
winter. 

The storm-dress must be short, not very full, and made 
with a close-fitting sacque to leave the arms free. The cloak 
must have a large hood to entirely cover the hat or bonnet. 
Heavy-soled boots of waterproof leather, coming high on the 
leg, and in a snow-storm India rubber boots are indispensa- 
ble. The petticoat is best made of aqua scutum cloth, short, 
and bound with the same. 

In summer a stout linen, trimmed with flat, white braid, is 
the most serviceable storm-suit, as it can be washed if wet 
or muddied, and the petticoat is best made of the same ma- 
terial. " 

If an umbrella is carried, the gloves should be dark and of 
strong material; kid is ruined by an umbrella. 

It is a mistaken idea to suppose that "any old thing will 
do to wear in rainy weather." The well-dressed lady will pre- 
sent as neat and appropriate an appearance in a storm as on 



HOW TO DRESS. 39 

the clearest day. She will never appear on the street m a 
soiled, half-worn dress of by-gone beauty, dragging a trail, 
perhaps, in the mud; a bonnet of faded splendor, and old kid- 
gloves, with the fingers peeping out at various open points. 
You never see her dragging muddy white petticoats through 
the rain-puddles, and showing a soaked gaiter-boat at every 
step. Every article she wears will be fit for the occasion, 
and she will come home as dry and comfortable under her 
waterproof cloak and with her waterproof boots as if she had 
taken her walk in the sunshine. 

If, however, old dresses are reserved for storm-suits, they 
should be made short, divested of all superfluous trimming, 
and be of serviceable material. Fhmsy goods will not bear 
stormy weather, and silk, if old, can be put to many better 
uses, while one or two hard rains would utterly ruin it. 

The dress worn in a storm should be taken off, as soon as 
possible, spread out to dry, and well aired before it is put 
away. It will improve the appearance of most dresses to 
be pressed before wearing again, and all should be thoroughly 
brushed. 



GENTLEMEN'S DRESS, 

It is a proverb in France that "It is not the cowl which 
makes the monk," so "it is not the dress which makes the 
gentleman ;" yet, as the monk is known by his cowl, so may 
the innate refinement that distinguishes the gentleman from 
the clown be known by his costume. It is not always the 
broad distinction between the sloven and the coxcomb that 
the dress decides, but those finer shades of difference that 
proven a habitual care in dress that will safely avoid the one 
without becoming the other. 

As men dress in the present day, there is but little that can 
be said of color in relation to their ordinary habiliments. 
Had it been our fortune to write in the days of past glories, 
when the well-dressed gentleman kept in his wardrobe his 
several suits of brown velvet and silver, of blue satin and 
gold, of green velvet slashed with white satin and embroid- 
ered in scarlet; coats of cherry-colored calimanco, and peach- 
blossom hose; endless varieties of embroidered waistcoats; 
silk stockings of every hue, and breeches of numerous shades, 
it might have taxed our ingenuity to draw the line where vul- 
garity begins and artistic taste ends. 

We must take things as they are. 

It is generally said, and it must be owned, with a great 
deal of apparent truth, that gentlemen of the present day 
dress worse than ladies, and yet make a greater parade of 



40 HOW TO DRESS. 

their finery. One is a necessary consequence of the other. 
We are all vainer of the arts in which we are only smatterers, 
than of those in which we are proficient. Who ever shows 
his hideous caricatures of the human countenance, and libel- 
ous "sketches from Nature," with half the smirking com- 
placency of the self-taught amateur? Ladies do, as a rule, 
give some steady thought to matters of dress, its harmony, 
fitness, fashion, and with a view to the adoption of what is 
most suitable to their own personal appearance, pecularities 
of figure, complexion, and age. 

Gentlemen, however, as a rule, when they do give any at- 
tention to the subject, give it in such a languid, jerky, discon- 
nected, superficial sort of way, that, with all their tedious 
care, they only succeed in dressing so as to render themselves 
conspicuous. 

Now we are certainly not of the opinion that dress is a 
matter to which it is advisable for young men to give a great 
amount of serious consideration. There may indeed be some 
who have nothing better to do ; who dawdle away the valu- 
able hours in the club-room, the drawing-room, or the 
billiard-room, and whose evenings can be put, apparently, to 
no better use than lounging at the opera, or in the concert- 
room. These may find their tailor their most absorbing and 
interesting companion, and dwell with emphasis upon the 
last cut for a vest, or the merits of rival neck-ties. 

But such devotion to dress is unmanl5^ There are few 
things, not actually immoral, less to be desired than the name 
or character of a fop. Most young men, however, who have 
a reasonable conceit of themselves, pass through what has 
been called the " dandy stage " in youth, just as in childhood 
they are subject to measles, whooping-cough, and scarlet 
fever. Some excess in dress is then, at least, pardonable; 
and as consideration will be given to the question of how to 
dress, it is perhaps well that such consideration should be in- 
telligent. This will soon yield a man as much knowledge on 
the subject as he will need. He will not have to watch what 
form or color of dress some acknowledged leader of fashion 
has lately adopted, or be entirely at the mercy of his associ- 
ates or his ta*lor, as to the fashion of his coat, but will dress 
fitly and becomingly from habit, or, as Bacon said of a kin- 
dred matter, " by a kind of felicity (as a musician that maketh 
an excellent air in music), and not by rule." 

There is but little danger that a man who has much in his 
head and heart worth cultivating will persist long in devoting 
much time, thought, or attention to dress. But the advantage 
of acquiring once for all the art of dressing well. Is. that once 
gained, a man will continue to dress in a fit and becoming 



HOW TO DRESS. 41 

style by a sort of intuition ; whilst, if it is never acquired, he 
will attire himself awkwardly or conspicuously, with a great 
deal of trouble ; or, if he take no care, will fall into the dis- 
gusting extreme of a sloven by habit. 

This habit of being well dressed will cover the necessities of 
daily toilet cares, the tirst of which is appropriateness. In 
this connection a gentleman's age is a most important con- 
sideration ; a man of sixty is as unutterably absurd in the height 
of a prevailing fashion, as a lad of nineteen would be in the 
breeches and long stockings of the past century. As a gen- 
eral rule, a man who has passed middle age, while he tolerates 
frequent changes of fashion in his sons, should avoid them in 
his own attire. The young man, on the other hand, should 
exercise some judgment in following the caprices of fashion, 
and, while avoiding eccentricity of costume, consult taste and 
position in his selection of clothing. Any new fashion which 
imparts additional grace, ease, comfort, and convenience, is 
certainly to be desired. Greater freedom in any garment will 
be gladly hailed, while foppish extravagancies are utterly dis- 
carded and ignored. 

Some regard must be paid to profession and position in so- 
ciety. Many a man is judged, however unjustly, merely by 
his appearance, and although much outcry has been made at 
this test, it certainly proves two points--tact and discretion. 
Position in society demands some regard to appearance, and 
this a man of the world will give easily and gracefully, never 
following every absurd freak of fashion in every minute detail 
of dress, yet avoiding such solecisms as will mark carelessness, 
meanness, or disregard of the prevailing modes appropriate 
to the time, place and season. 

The great principle of dressing well, according to the style 
of dress now prevailing amongst gentlemen, is simplicity. 
Alike in the shape and make of the several garments, the ma- 
terials, the colors, the tout ensemble, simplicity is the rule. 
This strict simplicity is really the sole distinction in dress to 
which a man of taste should aspire, but simplicity of style re- 
qmres most accurate nicety in detail; one must be simply 
well-dressed, not carelessly ill-dressed. When Lord Castle- 
reagh was in Yienna, and was known as the most distin- 
guished-looking man in the gay court, it was not simply be- 
cause he wore no profusion of orders or decorations, when 
others were glittering with them, but because his exquisite 
nicety of costume had attained the perfection of strict smiplic- 
ity. So with Brummel, that prince of dandies. For the age 
in which he lived, his dress was extremely simple, yet he gave 
his whole time and attention to its finish of detail. 

Taste, therefore, is synonymous with simplicity. Splendor, 



42 HOW TO DRESS. 

extravagance and eccentricity must all be shunned. Colors 
must be most carefully selected, if any are worn, and must 
suit complexion, hair, eyes, and general appearance. It may 
seem superfluous to tell a gentleman of to-day not to wear 
red, yellow or blue, and probably no one but a lunatic would 
wear a coat or trousers of such colors, but the vagaries iii 
gloves, vests and neckties are often startling in their glaring 
hues and vulgar contrasts. 

Looking at some of the|lately prevalent fashions, it may seem 
as if simplicity of, dress was confined to the staid and middle- 
aged, and utterly disregarded by the young ; but there are os- 
cillations in the most stable customs. In youth there is often, 
if not always, some tendency to exaggeration ; and, allowing 
for that, it will be found that simplicity is even now the gov- 
erning principle of a gentleman's customary dress. This being 
so, the man who will study simplicity, who will utterly discard 
whatever savors of peculiarity and pretension, and will dress 
in a manly, becoming and unafiected way, will probably find 
that, unconsciously, he is dressing well. But a young man 
may be reminded that in dress, as in all else, he should culti- 
vate manliness and gentlemanliness as a part of the respect 
he owes to himself; and neatness and propriety with reference 
to place and occasion,- as marking his sense of the respect due 
to society. 

It may be said that necessarily the p rinciples of color, of 
harmony and contrast, and the laws which regulate the 
arrangements of color with reference to dress, apply to the 
wardrobe of a gentleman as they do to that of a lady, and it 
would therefore be but a useless repetition to give again the 
rules already laid down in this volume. The subject has been 
thoroughly treated in detail in previous chapters. 

But we may say a few words of the nice distinction in 
dress upon special occasions — what is to be worn at dinner, 
the evening party, the opera, the social gatherings, in full 
dress, in the streets, and in the house? Much of this may be 
learned from intercourse with good society, from consultation 
with an accomplished female relative, or the Book of Eti- 
quette, but a few hints taken from an English work upon this 
subject will apply equally well to American societj^ 

" A well-dressed man," he says, •' does not require so much 
an extensive as a well varied wardrobe. He wants a difter- 
ent costume for every season, and for every occasion ; but if 
what he selects is simple rather than striking, he may appear 
in the same clothes as often as he likes, as long as they are 
fresh, and appropriate to the season and the object. There 
are four kinds of coat which he must have; a morning coat, a 



HOW TO DRESS. 43 

frock coat, a dress coat, and an overcoat. An economical 
man will do well with two of the first, and one of each of the 
others. 

" In his own house, and in the morning, there is no reason 
whj^ he should not wear out his old clothes. Some men, in- 
deed, prefer the delicious ease of a dressing-gown and slip- 
pers, and morning visitors are kind enough to excuse them, 
especiallyi^ elderly or literary men. 

"The i3est walking-dress is a suit of tweed, all of the same 
color, ordinary boots, gloves not too dark for the coat, a 
scarf with a pin for winter, or a small tie of one color in 
summer, a respectable black hat and cane. The main point 
of the walking-dress is the harmony of colors, but this should 
not be carried to the extent of M. de Maltzan, who some 
years ago made a bet to wear nothing but pink, at Baden 
Baden, for a whole year, and had boots and gloves of the 
«ame lively hue. He won his wager, but also the soubriquet 
of *Le Biable enflamme.^ 

' ' The walking-dress should vary according to the place and 
hour. In the country or at the seaside, a straw hat or a 
wide-awake may take the place of the beaver, and the nui-' 
sance of gloves be even dispensed with in the former. But in 
the city, where a man is supposed to make visits as well as 
lounge in the street, the frock-coat, faultless trousers and 
vest, and kid-gloves, are indispensable. Very thin boots 
should be avoided at all times, and whatever clothes one 
wears they should be well brushed." 

In ordinary half-dress, or what might be designated the 
frock-coat costume, a little liberty is allowed; but not much, 
beyond some variety of dark color in the coat, can be vent- 
ured on without attracting notice. Not long ago, some 
would occasionally indulge in a frock-coat of deep claret or 
of plum color, and very well it looked if the rest of the dress 
was adapted to it ; but care must be taken even in such inno- 
cent wanderings. 

Black is, of course, always safe, and black is generally becom - 
ing to a gentleman, be he of light, dark or florid complexion ; 
but where color may be ventured upon, color is often prefera- 
ble. With hght trousers a light waistcoat always accords best ; 
the trousers should be of a quiet neutral tint. Patterns ar e 
dangerous and apt to vulgarize any costume. Every now an d 
then colored waistcoats come into fashion. Should the fash- 
ion recur, it must be remembered that the colors should be 
carefully chosen, and with reference to form and features, 
hair and complexion, and patterns must be still more carefully 
selected. Bright-colored vests are very apt to look vulgar: 
and out of keeping with the rest of the attire. They had bet- 



44 HOW TO DRESS. 

ter be left to fast young men and flourishing parvenus. The 
3&rae may be said of gaudy-figured neck-scarfs, fastened with 
a staring pin. These are intensely vulgar, wherever and 
whenever seen, and a man of taste will invariably discard 
them. 

Colored neck-scarfs are very well at proper seasons, but 
never gaudy ones. If worn, they should be quiet, plain, or at 
the most of an unobtrusive pattern and of a colcy^ that will 
perfectly harmonize with the coat and waistcoat, and not 
seriously disaccord with complexion, mustache or beard— if 
the latter hirsute appendage be indulged in. The effect, for 
instance, of a sandy beard, will never be improved by a brill- 
iant red or yellow neck-scarf. With a colored scarf the waist- 
coat should not be too open, and the pin should be of moderate 
size, and its head either artistic in pattern, or a small gem. 
If a narrow necktie be preferable, the bow must not be too 
formal, nor the ends too long. Some years ago, ribbons were 
worn for neckties, and were actually worn of the brightest 
colors two yards long. With the narrow tie a more open 
waistcoat may be worn than with the scarf, but not so open 
as to make a marked display of shirt front. 

The linen on all occasions must be scrupulously neat, devoid 
of all niminy-piminy insertion, embroidery or finery, and the 
studs plain, but such as will bear examination as fair examples 
of art, workmanship and good taste. 

Thus dressed for the city promenade, it will be a young 
man's own fault if he is not presentable. His appearance 
will, at any rate, at first commend him, even if his conversa- 
tion cancels instead of improving the first impression. 

In a walking dress, where no calls are to be made, where 
you adhere to a frock-coat, one of very dark color, not black, 
will be best, and with it trousers and vest of gray or other 
light color, or at the proper season an entire suit of some 
quiet neutral tint or mixed goods. A wash waistcoat is also 
allowable of white, bufl' or some pale hue, as the very light 
greenish-gray worn a year or two ago. 

Bright colored gloves are an utter abomination. The un - 
dress walkmg or country suit requires to be obviously easy, 
appropriate and convenient. The shooting jacket, under 
almost any of the hundred and one tailor's varieties, is a manly 
and universally becoming garment. When of one color, and 
the waistcoat and trousers oi another and lighter hue, the 
eflect is decidedly better than when all are cut from the same 
piece, or the coat and waistcoat are of one. and the trousers 
of a different color; but in this fashion will generally carry 
the day. 

Large patternsare simply detestable; few men look well in 



ii 



HOW TO DEESS. 45 

them, and most are utterly vulgarized by their use. They 
are distinctive of a racing/gambling set of men generally, 
and entirely avoided by gentlemen. The usual costume for 
traveling, promenade, morning meeting for archery, croquet, 
or other out-door pursuit, worn by a well-dressed man will be 
always extremely simple. The coat must be loose, the 
trousers easy; the hat of soft felt, or a comfortable straw or 
low cloth hat is best, with sufficient brim to shade the eyes. 
Tightly fitting suits and hard, flat-brimmed hats should be 
left to jockeys, who may also appropriate the gaudy neckties, 
and brilliant waistcoats. 

Evening dress, being confined to black and white, may, as 
far as color is concerned, be left unnoticed. Only we may 
express a wish that some gentleman of sufficiently pre- 
eminent position would have good taste and decision enough 
to break through the absurd restriction. Every gentleman 
feels the absurdity of disguising himself like an undertaker 
or a waiter, every time he goes'to a dress party, and yet no 
one has the courage to exchange the gloomy attire for one 
more suited to himself and the festive occasion. Drawing- 
rooms must have looked very different in our grandfathers' 
days. 

As it is, there is nothing to be done but to take care that 
the costume is marked by an air of ease, refinement, appro- 
priateness, and quiet good taste. 

For all evening-dress black cloth trousers, waistcoat and 
coat are de regueur; the necktie for a ball, opera, and soiree 
must be white, of silk or fine linen cambric, without em- 
broidery; for smaller evening parties the black silk-tie is 
allowable, but must be small and perfectly simple. The shirt 
front must be plain, in small or broad plaits, according to 
taste. Gloves must be white. Some indeed wear delicately 
tinted gloves, but white is the rule. 

There are additions, however, that will go far to spoil the 
effect of even the most exquisitely arranged dress. The 
wearing a number of rings is always a mark of effeminacy, 
and too ofteu the rings are ill-matched. Only one ring at a 
time should ever be worn. A signet or a mourning ring is 
allowable to any one, but if the former, it should be of artistic 
value, unless it is valuable as a souvenir. Almost the only 
gem ring that is becoming to a manly hand, is a moderate- 
sized diamond, and that is less suitable than either of those 
already mentio ned. The bunch of meaningless trinkets it is 
so usual to see dangling at the waistcoat— charms that have 
no charm in them for any eyes but those of the wearer — 
would be best dispensed with altogether. If some are worn, 
remember that the fewer there are the better will be the effect, 



46 HOW TO DEESS, 

and the only way to justify the taste in wearing them at all, 
is to wear such as are of artistic value, if such can be found. 

At the risk of repetition we give a few hints on jewelry from 
the English authority before quoted. He says : 

" Jewels are an ornament to women, but a blemish to men. 
They bespeak either efleminacy, or a love of display. The 
hand of a man is hon ored in working, for labor is his mis- 
sion ; and the hand that wears its riches on its fingers has 
rarely worked honestly to win them. The best jewel a man 
©an wear is his honor. Let that be bright and shining, well 
set in prudence, and all others must darken before it. But as 
we are savages, and must have some silly trickery to hang 
about us, a little, but very little, concession may be made to 
our taste in this respect. I am quite serious when I disad- 
vise you from the use of nose-rings, gold anklets, and hat- 
?oands studded with jewels ; for when I see a young man of 
this nineteenth century dangling from his watch-chain a 
dozen silly charms (often the only ones he possesses), which 
have no other use than to give a fair coquette a legitimate 
subject on which to open a silly flirtation, and which are re- 
vived from the lowest superstitions of dark ages, and some- 
times darker races, I am justified in believing that some South 
African chieftain, sufficiently rich to cut a dash, might intro- 
duce with success the most peculiar fashions of his own coun- 
try. However this may be, there are already sufficient ex- 
travagances prevalent among our young men to attack. 

" The man of good taste will wear as little jewelry as pos- 
sible. One handsome signet ring on the little finger of the 
left hand, a scarf-pin which is neither large nor showy, nor 
too intricate in its design, and a light, rather thin watch- 
guard, with a cross-bar, are all that he ought to wear. But, 
if he aspires to more than this, he should observe the follow- 
ing rules : 

" First: Let everything be real and good. False jewelry is 
not only a practical lie, but an absolute vulgarity, since its 
use arises from an attempt to appear richer or grander than 
its wearer is. 

"Secondly: Let it be simple. Elaborate studs, waistcoat 
buttons, and wrist links, are all abominable. The last, par- 
ticularly, should be as plain as possible, consisting of plain 
gold ovals, with, at most, the initials engraved upon them. 
Diamonds and brilliants are quite unsuitable to men, whose 
jewelry should never be conspicuous. If you happen to pos- 
sess a single diamond of great value, you may wear it on 
great occasions as a ring, but no more than one ring should 
ever be worn by a gentleman. 

♦'Thirdly: Let it be distinguished rather by its curiosity 



MOW TO DRESS. 4*7 

than its brilliance. An antique or bit of old jewelry possesses 
more interest, particularly if you are able to tell its history, 
than the most splendid modern production of the goldsmith's 
shop. 

"Fourthly: Let it harmonize with the colors of your dress. 

"Fifthly: Let it have some use. Men should never, like 
women, wear jewels for mere ornament, whatever may be the 
fashion of Hungarian nobles and deposed Indian rajahs with 
jackets covered with rubies. 

' ' The precious stones are reserved for ladies, and even the 
scarf-pins are more suitable without them. 

"The dress that is both appropriate and simple can never 
offend, nor render its wearer conspicuous, though it may dis- 
tinguish him for his good taste. But it will not be pleasing 
unless clean and fresh. We cannot quarrel with a poor 
gentleman's threadbare coat, if his hnen be pure, and we see 
that he has never attempted to dress beyond his means, or un- 
suitably to his station. But the sight of decayed gentility and 
dilapidated fashion may call forth our pity, and, at the same 
time, prompt a moral. 

" 'You have evidently sunken,' we say to ourselves. 'But 
whose fault is it ? Am I not led to suppose that the extrava- 
gance which you evidently once reveled in has brought you 
to what I now see you ?' 

" While freshness is essential to being well dressed, it will 
be a consolation to those who cannot afford a heavy tailor's 
bill, to reflect that a visible newness in one's clothes is as bad 
as patches and darns, and to remember that there have been 
celebrated dressers who would never put on a new coat till it 
had been worn two or three times by their valets. On the 
other hand, there is no excuse for untidiness, holes in the 
boots, ,a broken hat, torn gloves, and so on. Indeed, it is 
better to wear no gloves at all than a pair full of holes. There 
is nothing to be ashamed of in a pair of bare hands, if they 
are clean, and the poor can still afford to have their shirts 
and shoes mended, and their hats ironed. It is certainly 
better to show signs of neatness than the reverse, and you 
need sooner be ashamed of a hole than of a darn. 

" If you are economical with your tailor, you can be ex- 
travagant with your laundress. The beau of forty years back 
put on three shirts a day, but, except in hot weather, one is 
sufficient. Of course, if you change your dress in the even- 
ing, you must change your hnen too. Quantity is better 
than quality in linen. Nevertheless, it should be fine and 
well spun. The loose cuff, which we borrowed from the 
French some few years ago, is a great improvement on the 
old tight wristband, and, indeed, it must be borne in mind 



4S MOW TO DRESS. 

that anything which binds any part of the body tightly, im- 
pedes the circulation, and is, therefore, unhealthy as well as 
ungraceful. 

" The necessity for a large stock of linen depends on a rule 
far better than Brummel's of three shirts a day, viz: 

"Change your linen whenever it is at all dirty. 

"This is the best guide with regard to collars, socks, 
pocket-handkerchiefs, and under-garments. No rule can be 
laid down for the number we sliould wear per week, for 
everything depends upon circumstances. Thus, in the cbun- 
try, all linen remains longer clean than in town ; in dirty, wet, 
or dusty weather, our socks get soon dirty, and must be of- 
ten changed; or, if we have a cold, to say nothing of the pos- 
sible, but not probable, case of tear-shedding, on the depart- 
ure of friends, we shall want more than one pocket-hand- 
kerchief per diem. In fact, the last article of modern civili- 
zation is put to so many uses, is so much displayed, and lia- 
ble to be called into action on so many various engagements, 
that we should always have a clean one in our pockets. 
Who knows when it may not serve us in good stead ? Who 
can tell how often the corner of the delicate cambric will 
have to represent a tear, which, like difficult passages in 
novels, ia 'left to the imagination ?' Can a man of any feel- 
ing call on a disconsolate widow, for instance, and listen to 
her woes, without at least pulling out that expressive append- 
age ? Can any one believe in our sympathy if the article in 
question is a dirty one ? There are some people who, like 
the clouds, only exist to weep, and King Solomon, though 
not one of them, has given them great encouragement in 
speaking of the house of mourning. We are bound to weep 
with them, and we are bound to weep elegantly. 

" Elegance, however, in the handkerchief, must consist en- 
tirely in its own delicacy of texture and snowy whiteness. 
For a gentleman to carry an embroidered or laced pocket- 
handkerchief is an absurd aflectation, and a colored-bordered 
one is vulgar in the extreme. A broad hem-stitched border 
is indeed allowable, and the initials or monogram may be 
embroidered in white in one corner, but no further ornament 
is in good taste. The size is also to be considered ; a very 
small one has an effeminate appearance, while one of extra 
large size makes a man look as if he was carrying a sheet or 
a table-cloth. The medium gentleman's handkerchief is the 
most elegant size. 

"I must not close this chapter without assuring myself that 
my reader knows more on its subject now than he did before. 
I take it for granted that he knows what it is to be in a dress- 
suit and in an undress costume. To be in an undress, is to 



HOW TO DRESS. 49 

be dressed for work and ordinary occupations; to wear a coat 
which you do not fear to spoil, and a neclitie which your ink- 
stand will not object to, but your acquaintances might. To be 
dressed, on the other hand, since by dress we show our re- 
spect for society at large, or the persons with whom we are to 
mingle, is to be clothed in the garments which said society 
pronounces to be suitable to particular occasions ; so that 
evening-dress in the morning, morning- dress in the evening, 
and a scarlet coat for walking, may all be called undress, if 
not positively bad dress. But there are shades of beinc; 
' dressed,' and a man is called ' little dressed,' ' well dressed,' 
and ' much dressed,' not according to the quantity, but the 
quality of his coverings. 

"To be 'little dressed,' is to wear old things, of a make 
that is no longer the fashion, having no pretension of ele- 
gance, artistic beauty, or ornament. It is also to wear loung- 
ing clothes on occasions which demand some amount of pre- 
cision. To be 'much dressed' is to be in the extreme of the 
fashion, with brand new clothing, jewelry, and ornaments, 
with a touch of extravagance and gayety in your colors. 
Thus to wear patent leather boots and yellow gloves in a quiet 
morning stroll is to be much dressed, and certainly does not 
difier immensely from being badly dressed. To be ' well 
dressed ' is the happy medium between these two, which is 
not given to every one to hold, inasmuch as good taste is a 
rare gift, and is a sine qua non thereof. Thus, while you 
avoid ornament and all fastness, you must cultivate fashion, 
that is, good style, in the make of your clothes. A man must 
not be made by his tailor, but should make him, educate him, 
give him his own good taste. To be well dressed is to be 
dressed precisely as the occasion, place, weather, your height, 
figure, position, age, complexion, and, remember it, your 
mea7is requiie. It is to be clothed without peculiarity, pre- 
tension, or eccentricity ; without violent colors, elaborate or- 
naments, or senseless fashions, introduced often by tailors, 
for their own profit. Good dressing is to wear as little jew- 
elry as possible, to be scrupulously neat, clean, and fresh, and 
to carry your clothes as if you did not give them a thought. 

"Then, too, there is a scale of honor among clothes, which 
must not be forgotten. Thus, a new coat is more honorable 
than an old one, a shooting-coat than a dressing-gown, a 
frock-coat than a shooting-coat, a tail-coat than a frock-coat. 
There is no honor at all in a blue swallow-tailed coat, except 
on an old gentleman who will wear t^«i accompaniment of 
brass buttons and a buff waistcoat. 

" There is more honor in an old uniform than in a new one 



50 HOW TO DRESS. 

in one with a bullet hole in it, than in one unstained or un- 
spotted. 

" There is more honor in a fustian jacket and smock-frock 
than in a dress-coat, because they are types of labor, which is 
far more honorable than lounging. 

" Again, light clothes are generally placed above dark ones, 
because they cannot be so long worn, and are, therefore, 
proofs of expenditure, alias money, which in this world is a 
commodity more honored than every other; but, on the other 
hand, tasteful dress is always more honorable than that which 
is only costly. Light gloves are more esteemed than dark 
ones, and the prince of glove colors is, undeniably, lavender. 

** * I should say Jones was a fast man,' said a friend to me 
one day, ' for he wears a white hat.' If this idea of my com- 
panion's be right, fastness in dress may be said to consist 
mainly in peculiarity. There is certainly only one step from 
the sublimity of fastness to the ridiculousness of snobbery, 
and it is not always easy to say where the one ends, and the 
other begins. 

** A dandy, on the other hand, is the clothes on a man not 
a man in clothes, a living lay-figure, who displays much dress, 
and is quite satisfied if you praise that without taking heed of 
him. A sloven is in the opposite extreme; never dressed 
enough, and always very carelessly; but he is as bad as the 
other. 

"The off-hand style of dress suits only an off-hand char- 
acter. It was, at one time, the fashion to afiect a certain neg- 
ligence, which was called poetic, and supposed to be the re- 
sult of genius. An ill-tied, if not positively untied cravat was 
a sure sign of an unbridled imagination; and a waistcoat was 
held together by one button only, as if the swelling soul in 
the wearer's bosom had burst all the rest. If, in addition to 
this, the hair was unbrushed and curly, you were certain of 
passing for a ' man of soul.' I should not recommend any 
young man to adopt this style, even if he can mouth a great 
deal, and has a bountiful stock of quotations from the poets. 
It is of no use to show me the clouds, unless I can positively 
see you in them, and no amount of negligence in your dress 
or person will convince me you are a genius, unless you pro- 
duce an octavo volume of poems published by yourself. I con- 
fess I am glad that the neglige style, so common in novels of 
a few years ago, has been succeeded by neatness. AVhat we 
want is real ease in the clothes, and, for my part, I should 
rejoice to see the Knickerbocker style generally adopted. 

" Besides the ordinary occasions already mentioned, there 
are other special occasions requiring a change of dress. Most 



HOW TO DRESS. 51 

of our sports, together with marriage (which some people ia~ 
elude iu sports) come under this head. 

"lu sporting dress, the less change we make the better, 
where, if we are dressed too accurately, we are liable to be 
subjected to a comparison between our skill and our clothes; 
for shooting and fishing it is not good taste to be very well 
dressed. An old coat with large pockets, gaiters or large 
boots, with thick soles, a wide-awake hat, and at the end of 
the day a well-filled bag or basket, make a respectable sports- 
man. 

" For cricket and base-ball you want a flannel suit, quite 
plain, a flannel cap, and shoes with spikes in them, unless you 
belong to a club and wear a uniform. 

"For riding, the trousers must be firmly strapped under 
the boot, and a cap is more comfortable than a hat. 

" Skating requires a loose dress, for perfect grace and ease 
of motion; a fur cap is allowable and fur gloves, and an over- 
coat should always be in readines^to put on as soon as the 
violent exercise is"^ over. 

" Sailing or rowing, like base-ball, is apt to include a club 
uniform. If not, a flannel shirt, with a collar of the same, 
black neck-tie and heavy trousers, will be at once comfortable 
and appropriate. 

" TraveUng suits are best protected by a long, loose, linen 
overcoat and duster, with a high stand-up collar that may be 
buttoned close to protect the white collar and neck-tie 
under it. 

"The dress for a bridegroom diflers but little from a full- 
dress morning costume. The days are gone by when gentle- 
men were married in white satin breeches and waistcoat, ' In 
these days men show less joy in their attire at the fond con- 
summation of their hopes, and more in their faces. A very 
dark blue frock-coat, or a black one, although many consider 
the latter color worn at a wedding ominous, trousers of the 
same, a white waistcoat, and, in some cases, light trousers 
suffice for the ' happy man.' The neck-tie should be of white 
linen cambric, perfectly plain. Patent leather boots are not 
amiss, but well polished ones are also appropriate ; the day of 
pumps is happily over. White kid gloves are a rule. Gloves 
and linen of spotless purity are typical — for in these days 
types are as important as under Hebrew law-givers — of the 
similar purity of the heart and mind which are supposed to 
exist in the wearer. After all, a bridegroom cannot be too 
well dressed, for the more gay he is the greater the compli- 
ment to the bride, so for once, he may don diamond studs, 
his diamond ring, handsome watch chain, and even put a 
flower in his button-hole^ to show the exultations of his heart 



52 HOW TO DRESS. 

Colors he may not wear in his waistcoat or neck- tie, but if he 
is afraid of a black coat, by all means let him wear a dark- 
colored one." 

The mourning-dress usually worn by a gentleman is a full 
suit of black broadcloth, a crape band round the hat, of 
depth governed by the closeness of the black worn, and jet 
studs and cuff buttons. A widower wears a band the width 
of his hat, and this is the deepest mourning worn. The 
fashion, prevalent we know, of wearing only the crape hat- 
band for mourning, and the rest of the dress of the usual light 
or dark colors, has the advantages only of convenience and 
economy, but is making a farce of mourning; it would be 
quite as appropriate for a lady to wear a suit of colored 
clothes, with a heavy crape veil thrown over her bonnet. If 
mourning is worn at all, the entire dress should be of black. 
A straw hat is allowable in summer, with the crape band, 
and m lighter mournmg gloves of dark gray or of lavender 
are suitable; studs of pe^^l set in jet, or jet bound with gold, 
are also worn in lighter m%urning-dress, while the hat-band is 
cut narrower as the rest of the dress is lightened. 

If a gentleman in summer indulges in the luxury of full 
suits of white linen, it is imperative that they be of spotless 
whiteness. Such a dress is a luxury at best, and to wear it 
more than once is impossible, as it will show signs at once of 
3ven a few hours' wear. 

There are two articles of a gentleman's dress to which too 
much attention cannot be given — a neat hat, and a pair of 
clean, well-fitting boots. The remark has been made in con- 
nection with ladies' dress, that there is absolute economy in 
a well-fitting shoe or gaiter; the same is still more applicable 
to gentlemen, as they are likely to have more out-door exer- 
cise. An ill-fitting boot, however bright and spotless it may 
be, will mar the effect of the most careful toilet, and will 
wear out r 
side them. 

The high hat is the only covering suitable to all occasions. 
Fashions change and differ in all other styles, and these may 
Duly be used in connection with a walking or business suit; 
they cannot be worn by any one who cares at all for appear- 
ances, when visiting, or mingling in general society. 

HINTS FOR DRESSING WELL. 

1. Consult suitability of occasion, and where any doubt of 
the style of dress exists, avoid over-dressing. A little fault 
on the other side is preferable to this, as a lady may be more 
gimply costumed than those around her, and appear to greater 



HOW TO DRESS. 53 

advantage than If she is more showy in her apparel and orna- 
ments than her companions. 

2. Carefully select, in shopping, the best material you can 
afford to purchase, rather than the most showy. A dress 
made of good fabric, if it is only a domestic gingham, will not 
only be more serviceable than any fabric made showily but 
worthlessly^ for mere effect. 

3. In dressing for a picnic, water-party, croquet meeting, or 
any other out-door gathering, select, when practicable, an at- 
tire that will wash. It is well, also, to be provided with a 
waterproof cloak and hood, easily carried, and even if a little 
troublesome while the sun shines, invaluable if a sudden 
shower attacks the pleasure party. 

4. Avoid carefully the extreme of the fashion. It is in far 
better taste to moderate any extravagance of the capricious 
goddess than to allow her to govern entirely every puff or 
band. If bonnets are worn very small, do not aim to make 
yours invisible. If they are to be large, it is not advisable to 
rival the proportions of a market-basket. 

5. Do not aim at eccentricity. A certain personality and 
becomingness of attire should be studied, but utterly to ignore 
the prevailing modes, is quite as apt to be a proof of a weak 
mind as of a strong one. It is no sign of genius to wear a 
long coat when every one else wears a short one, and the Bo- 
hemian style is quite as apt to be aped by the empty-headed 
as to be originated by the talented. 

6. Avoid glaring contrasts, in color, material, or value. A 
real lace shawl will look as badly over a cheap lawn dress as 
a rich silk will under a coarse linen wrap. 

7. Keep in scrupulous order your gloves, boots, and fine 
linens, or laces. There is no surer proof of a slattern than 
to see holes in the gloves, soiled collars or cuffs, or ill-fitting, 
shabby boots. If your income will not allow kid gloves and 
lace collars, wear cotton gloves and linen collars, but let 
them tit nicely, and be always in exquisitely nice order. Be 
sure a neat linen collar will more surely mark the lady than 
a torn or soiled one of expensive lace. 

8. Never wear any imitation finery. If real lace, real furs, 
real velvets, and real jewelry are not at your command, wear 
none at all. It is not a mark of gentility to appear in expen- 
sive ornaments or lace, but it is a mark of vulgarity to wear 
what is only an imitation of a valuable article. 

9. Cheap goods will generally be found an utter extrava- 
gance. If you pay for an article what it is fairly worth, you 



64 HOW TO DRESS. 

have then a right to complain if it proves inferior to what was 
represented to you. 

10. In selecting velvets and ribbons, examine the edge 
carefully. Inferior goods of this class will be found to have 
thin, broken edges, while those of first-rate quality are in- 
variably firm and even. 

11. In arranging trimming, always allow about three inches 
to the yard for corners and fullness. If a trimming is very 
elaborate, an even larger allowance will be found useful. 

12. Goods that will turn, or which are exactly the same on 
both sides, will be found not only more easily altered or made 
over, but more economical in the first making. 

13. Pattern dresses should be carefully selected, and bought 
only of reliable persons, as they are apt to prove utterly use- 
less when cut, from deficiency of material, or bad manage- 
ment of the pattern. 

14. Avoid glaring colors; they are becoming to but few, 
and always in bad taste, from being too conspicuous. 

15. A traveling-dress should be quiet in color, strong in 
fabric, and simple in make. 

16. Dresses made to be worn in a car, upon a boat, or in 
omnibuses, should be made to bear crushing well. Stifl" ma- 
terial, elaborately ruffled or puffed, will present a lamentable 
contrast to its first freshness, after an hour's ride in a crowd- 
ed omnibus. Soft woolens, whether thick or thin, stand this 
contact better than any other material, excepting a first-rate 
quality of silk. 

17. In the selection of stockings, examine the heels. These 
are generally thin and poor when the hosiery is of an mferior 
quality. German and English hosiery, especially the latter, 
will be found most economical in the end, though the first 
outlay is larger than that for American goods. 

18. Never force the season. The most exquisite and taste- 
ful of spring attire will never appear well if worn too early m 
the season, on a windy March day, or under a threatenmg, 
gloomy sky. Even if the dress you would discard is some- 
what worn, it will look better upon an unseasonable day 
than new finery worn too soon. 

19. If you discard flannels in sumiper, always keep an in- 
termediate suit to wear early in the fall and late in the spring, 
before assuming or rejecting your thicker ones. In a variable 
climate it is not only uncomfortable, but positively danger- 
ous, to take off winter flannels at once, even on the warmest 



HOW TO DRESS. 55 

day. Gauze merino, or Angolo flannel, is a good temporary 
substitute. 

20. Ready-made garments should be examined carefully in 
all the seams, and especially at the end of the stitchings. 
Many who bay them find at the first washing that, while the 
main part of the sewing is in good order, the ends of every 
seam have given way, and present a slovenly appearance, 
with a prospect of hours given to repair what should last as 
long as the garment. 

21. It is not safe to purchase goods which are very highly 
dressed. They will be often found of an inferior quality, and 
what at first seemed thickness or durability of material too 
often proves a trick of dressing. 

22. In selecting boots, the foot will present a better ap- 
pearance, and the boots will wear much better if full half 
an inch longer than the foot. Not only does a boot that is 
exactly a fit m length wear out soon at the most conspicuous 
place, but it ruins the shape of the foot, by forcing it to de- 
velop in its breadth what is crowded in length. This should 
be especially remembered in the purchase of children's boots 
or shoes, as a short boot in childhood will surely make an 
ugly foot in maturity. 

23. Over-dressed children are as attractive as organ men's 
monkeys. At no time of life is simplicity of attire so beauti- 
ful as in childhood or youth. 

24. Never wear jewelry in the street. Sucn articles as are 
necessary to keep the dress in order are admissible, but neck- 
laces, bracelets, and rings in profusion are in excessively bad 
taste in walking attire. 

25. Elaborate street dresses are in bad taste very early 
in the day, in dull, gloomy weather, or in errands and to mar- 
kets, provision stores, or business places. 

26. Evening-dresses should be purchased in establishments 
where they can be selected by artificial light. Colors and 
combinations that are exquisite by daylight, will often fail to 
be efl'ective when under the blaze of a chandelier, or exposed 
to the test of wax-light. 

27. In making evening-dresses, trimmings and ornaments 
should always be tested by the same artificial light; in which 
they are to be worn. The eflect of gas-light upon color is often 
very difierent from that of oil or candle-light. 

28. Dull or neutral-colored gloves are generally in better 
taste than bright ones, unless the latter are worn in contrast 
to a somber-tinted dress. To have a bright glove to match a 
bright dress, is an abomination to the eyes of people of taste. 



56 HOW TO DEESS. 

29. Colored boots, although they may be in fashion, are 
generally theatrical in effect, and seldom in good taste. They 
have also the disadvantage of being generally unbecoming to 
the foot. 

30. It is only upon very fall dress occasions that trimming is 
admissible about the feet. Huge bows or rosettes upon 
walking-boots are never pretty, even if fashionable. Neatly- 
fitting, plain walking-boots are in better taste. 

31. It is unsafe as well as indelicate to adopt too far any 
fashion which exposes the neck in the street. Dresses cut low 
in front should only be worn in the house, even if fashion 
sanctions their appearance at the promenade. 

32. Carriage-dresses may be more elaborate than those 
worn for walking. More delicate and costly fabrics will look 
well in a handsome barouche than can with propriety appear 
on the sidewalk. 

33. Parasols should be selected with some attention to 
their becoming or unbecoming effect. A pallid face seen in 
the reflected light of a pale-green parasol will not look bet- 
ter than a florid, overheated one under a canopy of rose- 
color. 

34. Be careful in altering an old garment into a new style 
that the material is worthy of promotion. It was rather tire- 
some to people of good taste to see how shabby some of the 
old shawls twisted into Arabs had become. It by no means 
follows that alteration in shape will renovate material. 

35. Consult your figure as well as your face in the choice 
of your dress, and if you cannot follow the fashion without 
appearing ridiculous, "^modify the fashion. 

36. In dressing the hair, be careful that it conforms to the 
style of the dress. An elaborate coiffure is in bad taste with 
an unpretending dress, while rich attire requires also some 
attention to head-dress, or arrangement of locks. 

37. Linen for dresses must be of good quality to be useful 
at all. A poor linen suit is always a crushed, rumpled, untidy- 
looking raiment, and even the best is suitable only for travel, 
or an undress walking-attire. 

38. Gentlemen should carefully avoid any consi)icuous ar- 
ticle of dress or jewelry. Nothing more surely marks a vulgar 
mind. 

39. It is a good rule to buy corset-lacings of loosely- woven 
elastic cotton. These are as strong as the more firmly made, 
but will yield some to the movements of the figure, and keep 



HOW TO DRESS. 5T 

the corsets in better shape than where they are strained by 
every motion. 

40. Satchels, and such stnall articles as are carried in the 
hand, as card-cases or porte-monnaies, can exhibit as much 
taste in their selection as any portion of the actual attire. 
We have seen a bright green porte-monnaie and a cuir-colored 
satchel lying upon a dress of blue silk, with what eflect may 
be better imagined than described. 

41. Feathers should only be worn in winter. They are as 
much out of place upon a summer hat or bonnet as fur would 
be upon a lace mantle. 

42. Large ornaments are seldom becoming, unless upon a 
very tall or large woman. To see a little woman with an im- 
mense breast-pin, or a pair of enormous ear-rings, is simply 
absurd. 

43. Jewels should be worn sparingly, should be only worn 
when genuine, and upon full-dress occasions, and should then 
carefully match the remainder of the attire. 

44. Eich ornaments may sometimes relieve a simple dress, 
if neat and tasteful, but will never atone for a shabby or in- 
appropriate one. 

45. Cheap artificial flowers are simply hideous. Flowers to 
appear upon the costume of a well-dressed lady should be of 
the most exquisite finish, and finest quality. They are never 
a necessity, and when they cannot be procured of the choicest 
kind, had better be dispensed with altogether. 

46. Refinement in feeling requires refinement in dress. A 
lady of delicacy will be found ever delicately and modestly at- 
tired. 

47. The best silk to wear is the best quality of gros grain. 
It is also the richest and most superb in appearance, although 
not the most showy. 

48. Cheap silk has the meanest appearance of any cheap 
goods. Silk is a luxury, and should always be of good quality. 
More inexpensive fabric will present a much better appear- 
ance than inferior silk, however showily it may be made or 
trimmed. 

49. Embroidery should be carefully selected, and very fine. 
Coarse embroidery does not look well upon any garment, and 
upon any outside portion of the dress, is conspicuously tawdry, 
and in bad taste. If worn at all, it should be of the best. 

50. Lace shawls are a luxury that cannot look well unless 
most expensive and elegant. Unless the income will warrant 
a variety of these wraps, they should be selected of shape and 



58 HOW TO DRESS. 

pattern that will not soon become unfashionable. The regu- 
lar shawl shape is the most economical, as that will never be 
out of style, and it has also the advantage of displaying the 
pattern effectively. 

51. If thread lace cannot be purchased for shawls, llama 
lace is very rich and pretty for a substitute. Imitation lace 
should never be worn by any well-dressed lady. 

52. In wearing short dresses, especially on the street, be 
careful that they are not too short. It is useless to adopt the 
style unless the dress clears the ground, but that object at- 
tained, it is not in good taste to expose the whole foot and 
ankle. A pretty foot does not look any better than an ugly 
one if too freely offered for criticism. 

53. One of the most beautiful and useful of summer fabrics 
is a fine quality of linen lawn, and it has always the advan- 
tage of washing well. 

54. It is as great an affectation for a young person to as- 
sume the dress of middle age, as it is for an elderly person to 
wear dress becoming and appropriate for a miss of sixteen. A 
certain gayety and brightness of attire is as suitable for 
youth as sober colors and quiet styles are for the more ad- 
vanced in life. 

55. Yonng persons should generally avoid the very heavy 
fabrics, even for full dress. Velvet, heavy silk, and rich satin 
are never so appropriate for the very young as the lighter 
silks and thinner fabrics, which have a certain airy grace 
suited to most festive occasions. 

56. Seaside dresses must be selected to bear the contact 
with the spray, which ruins most colors and many fabrics. 
On this account white is the most serviceable, and generally 
becoming, in thick or thin goods. It is manufactured now in 
such variety of , texture, from heavy pique and marseilles 
to the thinnest 'of muslin, that almost an entire summer 
wardrobe may be made of it. It has also the merit of never 
fading, and being really renewed whenever it is done up. It 
is universally becoming, and can be varied by style of make 
and variety in ornament and trimming. 

57. Wardrobes to be often packed should be made with as 
few ruffles and puffings as fashion will allow. It is difficult, 
even with all the modern improvements for packing, to retain 
the freshness of a dress after it has once been crowded into 
the limits of a trunk. Very expensive dresses may have the 
trimmings taken off, packed separately, and put on again after 
unpacking, with advantage. 

§8. A boot or glove that is too tight never makes the hand 



HOW TO DRESS. 59 

or foot appear smaller, but, on the contrary, by forcing it to 
look compressed and strained, gives the impression that boots 
and gloves of attainable size are too small to fit it. 

59. Earrings should not be worn too heavy. It is not un- 
usual for these ornaments to tear the flesh by their weight, 
causing a permanent disfigurement that it is impossible either 
to remedy or to conceal. Light and tasteftl ornaments of 
this kind are also more becoming than the very heavy or 
large ones. An ornament that is too large gives an impres- 
sion of imitation or valueless material. 

60. Diamonds and other glittering stones should never 
form a portion of, the daylight attire of a well-dressed lady. 
They should be strictly confined to evening-dress, as they re- 
quire artificial light for brilliancy, and are unsuited to any 
but the most dressy occasions. 

61. Thin fabrics should be worn over silk, unless in wash 
material, when the under-dress should be of fine cambric or 
linen. Skirts of sheer book-muslin are the prettiest under 
lawn or such thin goods. 

62. Trousseaus should be selected to look well for at least 
one season. It is almost impossible in the present often- 
changing fashions to arrange out-door attire for more than 
three months, but all excepting that portion of the wardrobe 
may be more bountifully provided. 

63. There is no surer test of the taste of a lady than her 
usual morning attire at home. A neat and even elegant 
morning-dress is certain to be worn by the truly well-dressed 
lady, and the slattern will betray her untidy propensities 
more surely in that dress than in any other. It is not expe- 
dient for the lady who is busy during the morning hours to be 
expensively attired, but neatness and propriety of costume 
are never more apparent or appreciated than at the breakfast- 
table. 

64. Very light gloves are only suitable for a very light or 
elaborate street-dress. They are more appropriate for an 
evening costume, an opera or concert -dress, but can be 
worn also with a summer street-suit, or a very dressy winter 
one. 

65. A fan, when carried for full-dress, should never be in 
glaring contrast to the dress, or so bright as to destroy its 
efiect. White or black are suitable for light or dark dresses, 
and white silk covered with black lace is the most useful of 
all fans. Bright colors in fans should be very sparingly 
used, though they are sometimes eflective with a pure white 
or a black lace dress. 



60 HOW TO DRESS. 

66. Contrast of color is one of the most difficult of all mat- 
ters to manage tastefully. It is safer, as a general rule, to 
make a perfect match in trimmings and accompaniments, but 
a carefully-adjusted contrast is certainly better than an im- 
perfect match. Two shades of one color are in very bad 
taste. 

67. Never w^r two bright colors at the same time. 
Somber or neutral tints may be effectively brightened by a 
gay knot of ribbon, or a flower, but never by two bright con- 
trasting colors. 

68. Traveling-dresses, when the season permits, should 
be made of wash material. Nothing is so tenacious «nd dis- 
agreeable as the dust contracted in travel, and once settled in 
woolen goods it is almost impossible entirely to dislodire it. 

69. Two garments are indispensable in the wardrobe of a 
lady who travels much. A waterproof cloak with a large 
hood, and a full, loose, linen duster, to entirely cover the 
dress. Wet or dusty weather may be safely defied with these 
two garments. It is not always possible to tell which will be 
most required upon a long journey, but it is generally safest 
to have both where they can be conveniently unpacked. 

70. Veils, although generally becoming, are often very try- 
ing to the eyesight, and unless really worn as a protection 
from dust, are better avoided. 

71. It is best to avoid long floating ribbons in any crowded 
assembly. They will often be found a great care, and their 
beauty is entirely lost Wiien you are limited for room. 

72. Fine lace dresses, or evening-dresses of very thin and 
delicate fabric, should only be worn when there is a proba- 
bility of plenty of space, as they will be greatly injured, if not 
entirely destroyed, by the pressure of a crowd. Silk, even if 
of very delicate color and style, will be found more serviceable 
in a very crowded ball or party -room. 

73. A number of rings, even i. they are all very valuable, 
ai'c in bad taste. It appears like an ostentatious display of 
wealth to load the hands with expensive and conspicuous 
rings. One, of some valuable stone or rare workmanship, is 
all that should be worn. 

74. It is alwa^^s in bad taste to wear several kinds of pre- 
cious stones, two, happily contrasted in the same setting, 
will often happily contrast with each other, but unless com- 
bined in this way, even two kinds are in bad taste. If you 
wear diamonds, wear no other stones, and let the rule apply 
to other stones. Jewels, to be in good taste, must be worn 
in complete sets. 

THE END. 



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riie Largest, Cheapest, and Best Library in tlie World, 



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467 
468 
469 
470 
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473 
474 

475 
476 

477 
478 
479 
480 
481 
482 

483 
484 



485 



491 
492 



BEAD THE LIST OF LATEST N 

The Brotner's Crime | 497 

Molly BlaiKl the Detective 

The James Boys in California 

Tumbling Tim— comic 

Mat of the Mountain 

The Picador of Chapultepec 

The Lost Island 

The James Boys as Train 
Wreckers 

The Maxwell Brothers 

Stuttering Ssim— comic 

The Mad Hunter 

Persimmon Bill 

The James Boys in Minnesota 

Buck Bid well 

Toby the Spy 

The James Boys as Highway- 
men 

Denver Dan in New York, by 
"Noname" 



Tommy Bounce, Jr., a Chip of 
the Old Block, by "Peter 
Pad.'' Illustrated— comi'<; 
Washed Ashore; or, Adven- 
tures in a Strange Land 
Charlie Chubbs at College 
The Irish Claude Duval 
The James Boys' Longest 

Chase 
Fair- Weather Jack; or, Life in 
the Arctic Regions 

The James Boys in Mexico 
Old Fox; or, The Mystery of a 

Trunk 
The James Boys at Cracker 

Neck 
Silvershot 
The Silent Slaver 
The Irish Claude Duval as a 

Rebel 
Astray in the Clouds 



UMBERS published: 
The Shortys Married and Set- 
tled Down— comic 

498 The Tree of Death * 

499 The Twin Detectives; or, True 
to Each Other 

500 WiHiam Tell, the Dead Shot of 
the West 

501 Trapper Duke 

502 Leon the Outlaw 

503 Tommy Bounce, Jr., in Col- 
lege— corn ic 

504 Around the World 

505 Out with the Jeannette 

506 Captain Tom Drake 

507 Fred Ford 

508 Billy Bakkus— C3m?:c 

509 Bow and Arrow Jack 

510 Arctic Phi) 

511 Fred Baxter 

512 The Brooktleld Bank Robbers 

513 The Border Bandits 

514 The James Boys and Timber- 

lake 

515 Fighting Joe 

516 Invincible Bill 

517 Skeleton Gulch 

518 The Irish Claude Duval as a 

Privateer 

519 The Wolverine 

520 Ben Bolt 

521 The James Boys in Court 

622 Bob Rollick; or, What Was He 
Born For ? — comic 

523 Northwoods Tom, by Kit Chde 

524 Only a Cabin Boy, by Harry 

Rockwood 

525 Astray in Africa, by Walter 

Fenton 

526 Tiger Ted, by Alexander Arm- 

strong 

527 The James Boys' Cave, by D. 

W. Stevens 



FRANK TOUSEY, Publisher, 

Box 2730. 34 and 26 North Moore St., N. Y. 

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Every book complete in itself, and full of startling ana exciting 
scenes. Read the following lists of tlie names and numbers of the 
books already publislied : 

DENVER DAN SERIES. 

No. 

433 DENVER DAN AND HIS MYSTIC BAND By Noname. 

436 DENVER DAN AND THE ROAD AGENTS By Noname. 

439 DENVER DAN AND THE COUNTERFEITERS By Noname. 

442 DENVER DAN OUTWITTED By Noname. 

445 DENVER DAN THE SHERIFF By Noname. 

450 DENVER DAN'S PERIL By Noname. 

455 DENVER DAN TO THE RESCUE By Noname. 

464 DENVER DAN AND HIS CHUMS By Noname. 

483 DENVER DAN IN NEW YORK By Noname. 

JAMES BOYS' SERIES. 

No. 

440 THE TRAIN ROBBERS, A STORY OF THE 

JAMES BOYS By D. W. Stevens. 

457 THE JAMES BOYS AS GUERRILLAS By D. W. Stevens. 

462 THE JAMES BOYS AND THE VIGILANTES. .By D. W. Stevens. 

466 THE JAMES BOYS AND THE KU KLUX By D. W. Stevens. 

469 THE JAMES BOYS IN CALIFORNIA By D. W. Stevens. 

474 THE JAMES BOYS AS TRAIN WRECKERS.. By D. W. Stevens. 

479 THE JAMES BOYS IN MINNESOTA By D. W. Stevens. 

482 THE JAMES BOYS AS HIGHWAYMEN By D. W. Stevens. 

488 THE JAMES BOYS' LONGEST CHASE By D.. W. Stevens. 

490 THE JAMES BOYS IN MEXICO By D. W. Stevens. 

492 THE JAMES BOYS AT CRACKER NECK By D. W. Stevens. 

514 THE JAMES BOYS AND TIMBERLAKE By D. W. Stevens, 

521 THE JAMES BOYS IN COURT By D. W. Stevens. 

527 THE JAMES BOYS' CAVE By D. W. Stevens. 

Any of the above books are for sale by all newsdealers in the United 
States and Canada, or they will be sent to your address, postage paid, 
on receipt of five cents. Address 

FRANK TOUSEY, Publisher, 

Box 2730. 34 and 36 Worth Moore St., N. Y. 



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